FROM  THE  LIBRARY  OF 
REV.   LOUIS    FITZGERALD    BENSON.  D.  D. 

BEQUEATHED    BY   HIM   TO 

THE   LIBRARY  OF 

PRINCETON  THEOLOGICAL  SEMINARY 


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Dr.  Martin  Luther. 

From  a  painting  l)y  L.  Cranach,  in  possession  of  G.  Gottfried,  Leipzig. 


X       I 


Luther's   Hymns 


BY 

JAMES  F.  LAMBERT 

PASTOR   OF   ST.   PAUL's   EVANGELICAL   LUTHERAN   CHURCH, 
CATASAUQUA,   PENNSYLVANLA 


WITH   AN  INTRODUCTION  BY 

JOHN  A.  W.  HAAS,  D.  D.,  LL.D. 

PRESIDENT   OF   MUHLENBERG   COLLEGE, 
ALLENTOWN,   PENNSYLVANIA 


ILLUSTRATED 


PHILADELPHIA 

GENERAL  COUNCIL  PUBLICATION  HOUSE 
1917 


Copyright,  1Q17,  by 
James  F.  Lambert 


To     the     loving 

memory    of    my 

sainted  friends, 

Herman 
and 

Matilda 

Kostenbader, 
consistant  Christians,  loyal 
members  of  St.  Paul's  Church, 
Catasauqua,  Pennsylvania, 
interested  in  the  Christian 
training    of    our    young     people, 

liberal      and 

earnest      in 

their     support 

of    the  many 

causes, 

fostered     by 

our    Evangelical 

Lutheran  Church, 

this    volume 

is        most 

affectionately 

dedicated  by 

the    a  u  t  hor- 


CONTENTS 

PAGE 

Preface xv 

Introduction xvii 

Hymnody  Before  Luther's  Time 1-5 

In  Old  Testament  Days. 
In  the  Ancient  Church. 

The  Preparation  of  Luther 6-8 

Estimates  of  Luther 9-12 

Coleridge. 

Spangenberg. 

Cariyle. 

d'Aubigne. 

Melanchthon. 

Grimm. 

Walter. 

Bacon. 

Luther's  Prefaces 12-15 

John  Walter's  Book,  1525. 
Funeral  Hymns,  1542. 
Joseph  King's  Book,  1543. 
Valentine  Babst's  Book,  1545. 

The  Letter  to  Spalatin 15 

Initial  Publication  of  Hymns  and  Revision  of 

Order  of   Worship 16,  17 

Delivery  in  Manuscript 18 

Initial  Prints 19-21 

The   Hymns 25-140 

Contemporaneous  Hymns 141-144 

Hymn  Writers  of  Luther's  Time 144-151 

Old  Musical  Settings 151,  152 

V 


ILLUSTRATIONS 


Dr.  Martin  Luther Frontispiece 

PAGE 

Luther  as  Choir  Boy  in  Eisenach 8 

Doctor  of  the  Holy  Scriptures 16 

Completion  of  Luther's  Translation  of  the  Bible.  .  28 

Luther  as  Preacher 44 

Both  Elements  in  the  Holy   Communion 104 

Luther  in  His  Family  Circle 124 

Luther's  Winter  Pleasures 144 


vu 


HYMNS 


PAGE 


Ach  CjOtt  vom  Himmel  sieh  darein 51 

Aus  tiefer  Noth  schrei  ich  zu  dir 29 

Christ  lag  in  Todesbanden 94 

Christ,  unser  Herr,  zum  Jordan  kam 132 

Christum  wir  sollen  loben  schon 88 

Der  du  hist  Drei  in  Einigkeit 140 

Dies  sind  die  heilgen  zehn  Gebot 98 

Ein  feste  Burg  ist  unser  Gott 40 

Ein  neues  Lied  wir  heben  an 25 

Erhait  uns,  Herr,  bei  deinem  Wort 135 

Es  spricht  der  Unweisen  Mund  wohl 54 

Es  wollt  uns  Gott  genaedig  sein 34 

Gelobet  seist  du,  Jesu  Christ 90 

Gott  der  Vater  wohn  uns  bei 80 

Gott  sei  gelobet  und  gebenedeiet 106 

Herr  Gott,  dich  loben  wir , 112 

Jesaia,  dem  Propheten,  das  geschah 108 

Jesus  Christus  unser  Heiland,  der  den  Tod 97 

Jesus  Christus  unser  Heiland,  der  von  uns 103 

Komm,  Gott  Schoepfer,  heiliger  Geist 64 

Komm  heiliger  Geist,  Herre  Gott 72 

Mensch  wilt  du  leben  seliglich 101 

Mit  Fried  und  Freud  ich  fahr  dahin 62 

Mitten  wir  im  Leben  sind 56 

Nun  bitten  wir  den  heiligen  Geist 68 

Nun  freut  euch,  lieben  Christen  g'lnein 75 

Nun  komm  der  Heiden  Heiland 85 

Sie  ist  mir  lieb,  die  werthe  Magd 126 

Vater  unser  im  Himmelreich 119 

Verleih  uns  Frieden  gnaediglich 110 

Vom  Himmel  hoch  da  komm  ich  her 121 

Vom  Himmel  kam  der  Engel  Schaar 130 

Waer  Gott  nicht  mit  uns  diese  Zeit 36 

Was  fuercht'st  du,  Feind  Herodes  sehr 128 

Wir  glauben  All  an  einen  Gott 82 

Wohl  dem  der  in  Gottes  Furcht  steht 38 

iz 


SOURCES    OF    HYMNS 


Original  Hymns— 

Ein  neues  Lied  wir  heben  an. 
Erhalt  uns,  Herr,  bei  deinem  Wort. 
Jesus  Christus  unser  Heiland,  der  den  Tod. 
Nun  freut  euch,  lieben  Christen  g'mein. 

Themes  Inspired  by  Latin  or  German  Antecedents- 
Christ  lag  in  Todesbanden. 
Jesus  Christus  unser  Heiland,  der  von  uns. 
Verleih  uns  Frieden  gnaediglich. 

Hymns  Developed  from  Latin  Antecedents — 
Christum  wir  sollen  loben  schon. 
Der  du  bist  Drei  in  Einigkeit. 
Gelobet  seist  du,  Jesu  Christ. 
Komm  Gott  Schoepfer,  heiliger  Geist. 
Komm,  heiliger  Geist,  Herre  Gott. 
Mitten  wir  im  Leben  sind. 
Nun  komm  der  Heiden  Heiland. 
Was  fuercht'st  du,  Feind  Herodes  sehr. 

Amplification  of  Old  German  Stanzas — 
Gott  der  Vater  wohn  uns  bei. 
Gott  sei  gelobet  und  gebenedeiet. 
Nun  bitten  wir  den  heiligen  Geist. 

Hymn  of  Greek  Origin. — 

Herr  Gott,  dich  loben  wir. 

Psalm  Hymns — 

Ach  Gott,  vom  Himmel  sieh  darein,  Ps.  12. 
Aus  tiefer  Noth  schrei  ich  zu  dir,  Ps.  130. 
Ein  feste  Burg  ist  unser  Gott,  Ps.  46. 
Es  spricht  der  Unweisen  Mund  wohl,  Ps.  14. 
Es  wollt  uns  Gott  genaedig  sein,  Ps.  67. 
Waer  Gott  nicht  mit  uns  diese  Zeit,  Ps.  124. 
Wohl  dem  der  in  Gottes  Furcht  steht,  Ps.  128. 
xi 


XU  SOURCES    OF    HYMNS 

Hymns  Based  on  Parts  of  the  Scriptures — 

Jesaia,  dem  Propheten,  das  geschah,  Isaiah  6  : 1-4. 
Mit  Fried  und  Freud  ich  fahr  dahin,  St.  Luke  2  :  29-32. 
Sie  ist  mir  lieb  die  werthe  Magd,  Rev.  12  :  1-6. 
Vom  Himmel  hoch  da  komm  ich  her,  St.  Luke  2  :  8-12. 
Vom  Himmel  kam  der  Engel  Schaar,  St.  Luke  2  :  10,  11. 

Catechism  Hymns — 

Christ,  unser  Herr,  zum  Jordan  Kam. 
Dies  sind  die  heilgen  zehn  Gebot. 
Mensch,  willt  du  leben  seliglich. 
Wir  glauben  All  an  einen  Gott. 
Vater  unser  im  Himmelreich. 


HYMNS    ADAPTED 


Advent— 

Nun  freut  euch,  lieben  Christen  g'mein. 

Nun  komm  der  Heiden  Heiland. 

Gelobet  seist  du.  Jesu  Christ. 
Christmas— 

Vom  Himmel  hoch  da  komm  ich  her. 

Vom  Himmel  kam  der  Engel  Schaar. 

Christum  wir  sollen  loben  schon. 

Gelobet  seist  du,  Jesu  Christ. 

Nun  komm  der  Heiden  Heiland. 
Epiphany— 

Was  fuercht'st  du,  Feind  Herodes  sehr. 

Gelobet  seist  du,  Jesu  Christ. 
Easter— 

Christ  lag  in  Todesbanden. 

Jesus  Christus  unser  Heiland,  der  den  Tod, 
Pentecost — 

Komm  heiliger  Geist,  Herre  Gott. 

Nun  bitten  wir  den  heiligen  Geist. 

Komm,  Gott  Schoepfer,  heiliger  Geist. 
Trinity — 

Gott  der  Vater  wohn  uns  bei. 

Der  du  bist  Drei  in  Einigkeit. 
Cqmmandments — 

Dies  sind  die  heilgen  zehn  Gebot. 

Mensch  wilt  du  leben  seligHch. 
Creed— 

Wir  glauben  All  an  einen  Gott. 
Prayer — 

Vater  unser  im  Himmelreich. 
Baptism — 

Christ,  unser  Herr,  zum  Jordan  kam. 
Confession — 

Aus  tiefer  Noth  schrei  ich  zu  dir. 
xiii 


XIV  HYMNS    ADAPTED 

Communion— 

Jesus  Christus  unser  Heiland,  der  von  uns. 
Post  Communion— 

Gott  sei  gelobet  und  gebenedeiet. 
Home  and  Family  (Wedding) — 

Wohl  dem  der  in  Gottes  Furcht  steht. 
The  Church — 

Sie  ist  mir  lieb,  die  werthe  Magd. 
Word  of  God — 

Ach  Gott  vom  Himmel  sieh  darein. 

Es  spricht  der  Unweisen  Mund  wohl. 

Waer  Gott  nicht  mit  uns  diese  Zeit. 
Public  Worship — 

Der  du  bist  Drei  in  Einigkeit. 

Gott  der  Vater  wohn  uns  bei. 
Closing  Hymns  and  Hymns  for  Peace — 

Verleih  uns  Frieden  gnaediglich. 

Es  wollt  uns  Gott  genaedig  sein. 

Erhalt  uns,  Herr,  bei  deinem  Wort. 
Reformation — 

Ein  feste  Burg  ist  unser  Gott. 

Ein  neues  Lied  wir  heben  an. 

Nun  freut  euch,  lieben  Christen  g'mein. 
Missionary— 

Es  wollt  uns  Gott  genaedig  sein. 
Te  Deum— 

Herr  Gott,  dich  loben  wir. 
Sanctus — 

Jesaia,  dem  Propheten,  das  geschah. 
The  Dying— 

Mitten  wir  im  Leben  sind. 

Mit  Fried  und  Freud  ich  fahr  dahin. 
Martyr  Hymns — 

Ein  neues  Lied  wir  heben  an. 

Nun  bitten  wir  den  heiligen  Geist. 

Komm  heiliger  Geist,  Herre  Gott. 

Wir  glauben  All  an  einen  Gott. 


PREFACE 


The  mission  of  this  book  is  to  offer  to  the  English  reader  an  outline 
survey  of  Hymnody  from  the  earliest  days  of  Jewish  devotions  to  and 
including  the  Reformation  era.  It  presents  natural  endowments  and 
acquired  qualifications  of  Dr.  Martin  Luther  as  a  lyric  poet  of  renown, 
testimonials  of  Luther's  gifts  and  industry  in  poesy,  by  well  known  and 
competent  men  of  his  time,  and  a  study  of  the  hymns  credited  to  him. 
It  strives  to  offer  facts,  in  agreement  with  the  consensus  of  the  most 
proficient  authorities,  without  launching  so  far  upon  the  troubled  waters 
of  doubts  and  cavils,  concerning  the  making  of  the  hymns,  that  read- 
ing becomes  monotonous  and  bewildering  to  the  average  intelligent  and 
interested  inquirer.  Cross-references  and  notes  are,  therefore,  deUber- 
ately  omitted. 

Material  for  a  historical  work  is  necessarily  compiled  from  tradi- 
tions, records  and  writings  of  those  who  have  lived  in  former  days. 
The  author  of  this  book  modestly  begs  to  acknowledge  the  encourage- 
ment and  valuable  assistance  accorded  him,  in  this  work,  by  his  friend 
and  former  preceptor,  the  Rev.  Prof.  Wm.  Wackernagel,  D.D.  A 
Bohemian  Hymn  Book  published,  1566,  for  the  ''Reformed  people  of 
the  German  Nation,"  served  the  author  as  a  constant  monitor  in  writ- 
ing the  German  text  of  the  hymns  and  indicating  the  value  and  quantity 
of  the  notes  in  his  transposition  of  melodies.  The  German  text  is  given 
in  many  of  the  older  forms  of  expression  and  orthography  in  order, 
more  accurately,  to  convey  the  thought  of  the  lines  written  by  Luther, 
and  to  show  the  development  of  German  diction  in  modem  composi- 
tion. The  key  to  most  of  the  tunes  is  taken  from  alphabetical  indices 
given  in  Fischer's  KirchenKeder-Lexicon.  Many  melodies  grate  upon 
the  modern  musical  ear;  but  a  close  student  will  easily  find  a  deep, 
devotional  sentiment  pervading  most  of  the  old  tunes.  A  recasting 
and  harmonization  of  them,  according  to  present-day  notations,  would 
render  nearly  all  of  the  tunes  very  pleasing,  as  well  as  devotional.  The 
German  book,  alluded  to,  was  presented  to  the  author  by  his  mother 
who,  in  her  childhood,  received  it  as  a  gift  from  Mrs.  Elizabeth  Rieser, 
then  a  lady  above  ninety  years  of  age,  and  living  near  DilHngersville,  Pa. 


XVI  PREFACE 

The  expression,  "Translations]     *  ^  ^^  [,"  shows  by  the  appended 

figures  the  number  of  translations  in  different  languages,  of  the  respective 
hymns,  that  have  come  into  common  or  general  use  among  hymnologists 
and  those  that  have  merited  recognition  but  are  not  generally  quoted. 
In  certain  instances  some  scholars  may  claim  knowledge  of  more  trans- 
lations than  the  figures  suggest.  The  figures  given  are  those  attested  to 
by  the  majority  of  authorities  and  are  safe  because  they  are  guarded  by 
conservatism. 

Where  the  translator  of  the  English  text  of  the  hymns  is  not  indi- 
cated, it  may  be  remembered  that  said  translation  was  taken  from 
the  works  of  Richard  Massie.  It  is  quite  evident  that  a  number  of 
translations  might  be  greatly  improved  by  a  revision,  but  the  author, 
at  this  time,  feels  himself  unable  to  sketch  placid  rhythms  upon  the 
muse's  lyre.  May  those  with  finer  gifts  tune  their  golden  chords  to 
celestial  strains,  and  enrich  our  literature  by  their  poesy.  Most  of  the 
books  studied  by  the  author  were  loaned  him  by  the  Rev.  Prof.  Luther 
D.  Reed,  D.D.,  Librarian  of  the  Krauth  Memorial  Library  at  the  Phila- 
delphia Seminary:  Liedergeschichten,  by  William  Wackernagel;  Kirchen- 
lieder-Lexicon,  by  Albert  Frederick  William  Fischer;  Unsere  Kirchen- 
liederdichter,  by  William  Nelle;  Das  Evangelische  Kirchenhed,  by  John 
Westphal;  Christian  Singers  of  Germany,  by  Catherine  Winkworth; 
Luthers  geisthche  Lieder,  by  William  Schircks;  Studien  zu  Luthers 
Liedern,  by  Frederick  Spitta;  Martin  Luthers  geistliche  Lieder,  by 
Philipp  Wackernagel;  Dictionary  of  Hymnology,  by  John  JuHan;  The 
Hymns  of  Luther,  by  Bacon  and  Allen;  Martin  Luthers  geistliche 
Lieder,  by  Frederick  Klippgen;  Martin  Luthers  geisthche  Lieder,  by 
Albert  Leitzmann;  Geschichte  des  Kirchenlieds,  by  Eduard  Emil  Koch; 
and  Luthers  Werke,  Vol.  8,  by  Dr.  Buchwald  and  others. 

That  this  volume  may  be  kindly  received  by  critics  and  profitably 
read  by  all,  especially  by  our  young  people,  is  the  modest  hope  and  wish 
of  its  author.  That  it  may  be  a  helpful  factor  in  maintaining  and 
furthering  the  divine  element  in  worship,  and  that  it  may  glorify  the 
Father  and  bring  many  souls  to  Christ,  is  his  sincere  prayer. 

J.  F.  L. 

Catasauqua,  Pa., 
Easter,  1917. 


INTRODUCTION 


Song  has  always  resounded  in  all  ages  of  the  Church,  but  it  took  on 
a  new  power  and  exhibited  a  new  joy  in  the  days  of  the  Reformation.  A 
new  song  burst  forth  from  the  glad  hearts  that  tasted  the  blessedness  of 
Evangelical  faith.  The  freedom  of  faith  and  the  assurance  of  grace  moved 
the  gifted  singers  of  the  Lord  to  attune  their  harps  and  to  raise  their 
voices.  The  motive  of  Evangelical  hymnody  is  to  be  found  in  the  new 
light  and  the  new  life  of  faith  in  the  Christ.  There  w^as  an  adequate  ex- 
perience to  inspire  creative  art  in  song.  The  Reformation  gave  us  new 
hymns  as  it  gave  us  so  much  that  was  new  through  which  it  profoundly 
changed  all  living.  But  the  new  song  was  not  revolutionary.  What- 
ever was  true  and  beautiful  in  the  worship  and  hymnody  of  the  Church 
was  preserved.  The  song  of  the  Reformation  was  in  unity  with  all  the 
hymnody  that  had  preceded.  The  hymns  of  the  Reformation  are  truly 
universal.  Their  universality  impresses  us  when  we  look  back  from  them 
to  all  preceding  Christian  songs.  They  are  also  universal  in  their  religious 
value  and  Evangelical  meaning  for  all  time. 

The  great  Reformer,  Martin  Luther,  was  the  father  of  Evangelical 
song.  In  the  large  and  manifold  endowment  of  his  nature  and  in  the 
breadth  of  his  genius  music  was  not  wanting.  In  fact,  Luther  was  a 
musician  and  a  lover  of  song.  He  had  a  soul  for  music,  and  possessed  a 
temperament  for  deep  appreciation  of  the  art  of  melody  and  harmony. 
Song  burst  from  his  soul,  and  he  was  also  gifted  with  the  power  of  the 
poet.  Thus  the  hymn  and  its  music  often  arose  in  unity,  although  other 
composers,  like  Walter,  often  clothed  Luther's  hymns  with  expressive 
melody.  In  Luther's  hymns  there  appears  the  full  message  of  the  Gospel. 
They  were  a  mighty  aid  in  the  spread  of  the  Reformation,  and  through 
them  the  Evangelical  truth  sang  its  way  into  the  hearts  of  the  people. 
The  whole  Luther  in  all  his  inwardness  appears  in  his  hymns.  They  are 
in  part  the  story  of  his  spirit.  Strong,  triumphant,  forceful,  they  con- 
tain the  note  of  conquering  faith  and  hope.  In  their  might  they  dash 
along  like  an  irresistible  mountain  stream.  Through  them  we  are  in- 
spired to  the  heroism  of  Christian  confession  and  to  a  spiritual  warfare 
against  error  and  sin.     But  there  are  also  hymns,  like  the  famous  Christ- 

xvii 


XVin  INTRODUCTION 

mas  hymn  ''Vom  Himmel  hoch,"  which  breathe  the  spirit  of  gentle  love 
and  childlike  confidence.  They  mirror  the  quiet  moments  of  Luther's 
Hfe  and  show  the  inner  peace  amidst  the  continuous  strife.  In  them 
the  tossing  waves  have  been  gathered  for  a  time  into  a  placid  pool. 
Luther's  hymns  have,  therefore,  a  real  value  for  the  understanding  of  the 
life  and  faith  of  the  great  Reformer.  But,  in  addition,  they  belong  to  the 
Church  universal,  and  they  have  inspired  subsequent  sweet  singers  of 
Evangelical  faith.  Their  place  in  the  hymnody  of  the  Church  cannot  be 
slighted  by  any  unprejudiced  student  of  hymnody,  and  by  any  Christian 
who  loves  the  songs  of  the  sanctuary. 

The  author  of  this  book  has,  consequently,  rendered  a  valuable  service 
to  all  lovers  of  Christian  hymns  in  giving  to  the  Church  and  to  the  common 
people  of  the  Church  this  new  and  beautiful  edition  of  Luther's  hymns. 
A  busy  pastor  with  the  many  burdens  of  a  large  parish  upon  him,  he  has 
nevertheless  found  time  for  this  labor  of  love,  which  he  offers  to  the 
Church  in  order  to  give  a  larger  knowledge  of  the  great  Reformer,  and  to 
aid  in  enkindling  devotion.  It  was  not  his  purpose  to  produce  a  book  for 
scholars,  but  rather  to  use  the  best  results  of  scholarship  and  to  give  them 
to  the  people.  A  difficult  task  has  been  undertaken  in  the  translation  of 
Luther's  hymns  into  English.  Fidelity  to  the  original  sense  rather  than  a 
finished  translation  marks  most  hymns,  which  were  not  available  through 
the  labors  of  great  translators  like  Miss  Winkworth.  The  Enghsh  form 
of  the  hymns  is,  therefore,  not  to  be  judged  from  a  literary  point  of  view 
and  because  of  a  Hterary  value,  but  the  translation  is  to  serve  as  a  guide 
to  those  who  do  not  readily  understand  the  original,  rugged  German.  In 
the  history  of  the  h3rmns,  and  in  the  description  of  incidents  which  relate 
the  blessing  they  have  brought  to  believers,  the  author  has  given  to  Eng- 
lish Christians  something  of  permanent  value.  Too  few  Christians  un- 
acquainted with  the  history  of  our  great  chorals  know  that  they  have 
become  a  spiritual  treasure  to  thousands  of  souls.  The  incidents  related 
of  what  they  have  done  and  how  they  have  inspired  and  comforted  men 
are  only  typical  of  their  extensive  value  to  the  Christian  life  of  behevers. 

May  the  Lord  bless  this  volume  to  many  souls  for  their  spiritual 
nurture,  and  use  it  for  the  edification  of  their  hearts  and  minds  in  our 
most  sacred  faith! 

John  A.  W.  Haas. 


LUTHER'S  HYMNS 


HYMNODY  BEFORE  LUTHER'S  TIME 

In  Old  Testament  Days 

n^HE  primeval  song  of  praise  by  God's  chosen  people,  first  re-echoed 
along  the  shores  of  the  Red  Sea.  Moses  and  his  followers  sang 
praises  unto  the  Lord  for  their  miraculous  rescue  from  the  Egyptian 
house  of  bondage.  Their  song  was  accompanied  by  the  harp  and  timbrel. 
Exodus  15. 

The  next  sacred  song  of  the  wandering  period  of  Israel  breathed 
the  prayer  of  Moses,  the  man  of  God,  and  began  with  the  strains,  *'Lord, 
thou  hast  been  our  dwelling  place  in  all  generations!"  He  speaks  in 
melancholy  tones  of  the  frailty  of  human  life,  and  establishes  himself 
upon  the  mercy  of  God  who  is  from  everlasting  to  everlasting.     Psalm  90. 

The  third  song  of  record  was  the  swan-song  of  Moses,  sung  while 
the  gentle  zephyrs  of  the  eternal  world  played  about  him.  The  trust- 
worthy servant  of  Jehovah  bid  farewell  to  his  people,  and  sang  before 
the  whole  congregation  this  majestic  hymn,  "Give  ear,  0  ye  heavens, 
and  I  will  speak;  and  hear,  O  earth,  the  words  of  my  mouth."  Deute- 
ronomy 32. 

Sacred  poetry  and  the  art  of  music  flourished  uninterruptedly  from 
the  days  of  Moses  unto  David;  and  the  maidens  of  Israel,  chiefly,  sang 
unto  the  Lord  and  glorified  his  mighty  acts,  as  well  as  the  deeds  of  heroes 
who  strove  for  his  name.  The  art  of  poetry  was  nurtured  in  Rama, 
in  the  school  of  the  prophets  under  Samuel.  As  in  the  days  of  our 
German  ancestors,  so  the  students  of  ancient  days  wandered  with  harps, 
from  place  to  place,  and  recited  sacred  incidents  in  song.      1  Chron.  16. 

The  flower  of  sacred  poetry  developed  into  a  magnificent  and  widely 
fragrant  rose  during  the  days  of  the  royal  harpist,  David.  All  ages  are 
indebted  to  him  for  the  hymn-book  of  the  Psalter.  He  was  the  creator 
of  the  beautiful  Order  of  Worship  then  in  use.  Services  were  rendered 
unto  the  Lord,  the  God  of  Israel,  continuously  in  the  tabernacle;  but 
the  long  years  of  wandering,  and  the  war-times  of  the  Judges,  forbad  the 


2  LUTHER'S   HYMNS 

spreading  of  its  delights.  Since  the  days  when  David  brought  the  Ark 
and  the  tents  of  the  tabernacle  to  Jerusalem  4000  men,  of  the  tribe  of 
Levi,  were  appointed  to  the  spacious  enclosure  of  the  Holy  Place,  as 
singers  and  musicians  for  the  choral  service.  The  Psalms,  which  issued 
from  the  king's  heart,  first  on  Zion's  holy  hill,  flowed  on  through  the  lips 
of  singers  among  the  people  gathered  in  the  outer  court.  The  Levites 
were  divided  into  two  choirs  which  sang  the  Psalms  responsively.  The 
united  choirs  joined  in  a  full  chorus,  either  at  the  beginning  or  the  close 
of  the  Psalm  and  the  multidude  sang  the" Amen "  and  ''Hallelujah."  The 
word  ''Selah,"  which  occurs  71  times  in  the  Psalter,  is  supposed,  by 
some,  to  signify  "Rise''  or  "Lift  up, "  and  gave  direction  to  the  musicians, 
who  had  hitherto  been  playing  a  soft  accompaniment,  now  to  strike  in 
with  loud  music,  with  trumpets  and  cymbals,  whilst  the  singers'  voice 
was  hushed.  According  to  the  opinion  of  others  it  means  "Lift  up 
your  benediction"  and  refers  to  a  doxology  "sung  after  every  Psalm, 
and  section  of  a  Psalm,  which  for  any  liturgical  reason  was  separated 
from  a  section  which  followed. " 

King  Solomon,  The  Wise,  increased  the  number  of  singers  and  in- 
stituted new  measures  for  beautif3dng  the  worship  of  the  temple.  Here, 
no  less  than  in  his  palace,  everything  had  to  be  done  in  a  grand  and  stately 
manner.  Solomon's  temple  was  one  of  the  wonders  of  the  world;  but 
his  glory  soon  fell  into  the  dust,  through  the  apostasy  of  Israel.  In  the 
second  temple,  which  was  greatly  inferior  to  the  first,  the  choir  was  in 
daily  service.  At  the  morning  sacrifice  eleven  Levites,  with  their  harps 
and  zithers,  stood  beside  the  priests  who  blew  trumpets  upon  the  steps 
before  the  court  of  the  priests.  At  the  foot  of  the  stairs  stood  an  equal 
number  of  Levitical  boys  who  sang  the  daily  Psalms  with  the  men. 
The  chief  selection  of  Psalms  was  composed  of  the  24th,  48th,  82d,  94th, 
81st,  93d  and  92d.  Additional  Psalms  were  sung  on  festival  occasions; 
and,  in  addition  to  the  stringed  instruments,  flutes  and  cymbals  were 
heard.  The  congregation  joined  in  singing  the  "  Amen  "  and  "Hallelu- 
jah" only. 

In  the  schools,  synagogues,  the  Psalms  were  read  or  sung  in  a  recita- 
tive manner.  Singing,  in  the  Temple,  was  not  after  the  manner  of  an 
ascending  and  descending  scale;  it  was,  rather,  a  speaking  in  a  monotone 
where  at  the  end  of  the  verse  the  voice  rose  or  fell.  The  instrumental 
accompaniment  was  very  simple  and  inharmonic.  Substance  was  of 
more  value,  to  the  ancients,  than  form.  With  us  the  case  is  reversed,  and 
that  not  altogether  to  our  advantage  or  credit. 

The  Child  Jesus,  undoubtedly,  missed  no  services  in  the  Temple  dur- 


Luther's  hymns  3 

ing  his  first  visit  to  Jerusalem;  and  he  joined,  with  a  blessed  delight,  in 
the  ''Amens "  and  ''  Hallelujahs."  The  Gospels  however  mention  but  one 
occasion  when  Jesus  sang.  As  host,  during  the  institution  of  the  Sacra- 
ment of  the  Altar,  in  the  night  in  which  he  was  betrayed,  he  began  the 
hymn.  Two  Psalms,  chosen  from  Psalms  115-118,  were  sung,  before 
and  after  the  feast,  no  doubt  after  the  manner  of  the  responsive  song  of 
the  Temple.  It  is  not  likely  that  Jesus  and  his  disciples  spoke,  recited, 
the  Psalm  in  a  monotone.  Since  the  days  of  David,  the  Levitical  choirs 
used  seven  or  nine  Psalm- tones.  The  sweet  tone,  ''How  hast  thou 
loved  us.  Lord  Jesus,  Son  of  God,"  vibrates  for  us,  children  of  the  New 
Covenant,  as  well  as  for  the  faithful  of  the  Old,  through  all  the  Psalms, 
however  much  they  differ. 

In  the  Ancient  Chuuch 

A  BOUT  a  century  after  the  birth  of  Christ,  Pliny  wrote  his  famous 
letter,  concerning  the  Christians,  to  Trajan,  the  Roman  Emperor. 
He  spoke  of  the  congregation  of  the  Christians,  and  related  how  they 
were  accustomed  to  sing  in  common.  Thus  the  faithful  obeyed  the 
Apostle's  admonition  to  the  congregations  in  Ephesus,  Eph.  5  :  19, 
and  Colossse,  Col.  3  :  16.  They  sang  and  made  melody  unto  the  Lord, 
in  their  hearts,  and  taught  and  edified  each  other  with  Psalms  and  Hymns 
and  Spiritual  Songs.  Ignatius,  Bishop  of  Antioch  (f  117),  introduced 
responsive  song.  The  song  of  the  angels,  on  Christmas  night,  must  have 
been  reduced  to  a  hymn,  and  amplified,  shortly  after  this  time.  Church 
history  shows  that  the  ''Great  Gloria"  was  known  in  the  oldest  of  the 
oriental  churches,  and  was  sung  in  the  matins  of  their  daily  house- 
congregations  ;  while  at  the  same  time  the  Hymn  of  Mary,  the  Magnificat, 
and  "Lord  God,  we  praise  Thee,"  were  used  as  vesper  hymns.  This 
was  introduced  in  the  occidental  Church,  in  about  360,  by  Bishop 
Hilary  of  Poitiers.  Hilary  is  called  the  father  of  Latin  hymnology; 
and  his  h3mins  were  sung  by  Christians  generally.  A  quarter  of  a  century 
later,  the  Te  Deum,  "Lord  God,  we  praise  Thee,"  was  sung  at  Milan.  It 
was  translated  from  the  Greek  by  St.  Ambrose  who  introduced  the  Greek 
system  of  music  into  the  great  church  of  Milan  in  386.  Ambrose  and  the 
Spaniard,  Prudentius,  composed  a  number  of  hymns,  all  of  which  found 
their  way  into  the  Church.  The  Psalms  were  also  diligently  sung, 
mostly  in  a  responsive  manner,  and  according  to  a  more  pleasing  melody 
than  was  used  by  ancient  Israel.  Men  and  women  in  the  church  were 
divided  into  choirs  which  sang  responsively;  or  a  deacon  sang  the  anti- 


4  Luther's  hymns 

phone  to  which  the  whole  choir  responded.  Prominent  and  God-fearing 
men  like  Chrysostom,  Basil  and  St.  Augustine,  were  diligent  patrons  and 
tutors  of  congregational  singing.  Choirs  were  organized  everywhere. 
Bishop  Sylvester  of  Rome  conducted  a  choral-school,  in  the  beginning 
of  the  4th  century,  which  was  patronized  and  supported  by  the  State 
Church. 

During  the  lapse  of  time  a  worldly-minded  clergy  gilded  the  exterior 
of  the  Church,  but  robbed  it  of  its  soul,  whence  the  former  purity  and 
simplicity  of  congregational  singing  fell  away.  Pope  Gregory  The 
Great,  who  ascended  the  papal  chair  in  590,  devoted  his  extraordinary 
abilities  and  energy  to  securing  the  unity  and  independence  of  the 
Church.  He  introduced  a  new  Order  which  rendered  singing  more 
spiritual  and  more  estimable;  but  it  banished  congregational  singing 
entirely  from  the  Church  and  substituted  choir  singing  in  its  place. 
Henceforth  the  Gregorian  Chant,  composed  of  twelve  tones,  and  notes 
of  equal  length,  had  to  be  sung  in  unison.  Gregory  opened  a  large  singing 
school  and  directed  that  everywhere  in  the  occidental  Church,  even 
as  in  Rome,  singing  should  be  practised.  He  required,  of  the  clergy, 
ability  to  sing  well,  and  refused  to  admit,  to  the  priesthood,  applicants 
inexperienced  in  this  art. 

The  Gregorian  Chant  was  introduced  into  England  at  an  early  date. 
In  Germany  it  gained  great  favor  through  the  elfforts  of  Charlemagne 
(742-814).  He  established  singing-schools,  personally  taught  the  choir- 
boys in  the  Court  church,  and  prescribed  the  practice  of  music  as  a 
learned  art  for  the  Cloister  Schools  at  Fulda,  Reichenau,  St.  Gall  and 
other  places.  At  about  this  time  the  organ  was  introduced  into  Germany. 
It  was  a  very  simple  affair  and  was  equipped  with  only  a  few  keys  that 
had  to  be  struck  with  the  fist.  However  solemn  the  singing  of  the  choir 
may  have  been,  the  congregation  was  necessarily  silent,  since  the  psalms 
and  hymns  were  written  in  the  Latin  language.  Men  sang  the  words 
they  understood.  The  ''Amen,"  "Hallelujah,"  ''Kyrie  Eleison,"  sung 
by  the  choir,  or  intoned  by  the  officiating  priest,  were  repeated  by  the 
congregation  like  a  mighty  echo. 

German  Christians,  however,  could  not  remain  entirely  mute.  On 
high  festival  occasions,  or  during  pilgrimages,  spiritual  songs  and  hymns 
were  sung  in  their  beloved  mother  tongue.  The  hymn,  "Nun  bitten 
wir  den  Heiligen  Geist,"  later  amplified  by  Luther,  was  sung  already  in 
1250.  A  little  later  the  Easter  stanza,  "Christ  ist  erstanden,"  became 
known.  "Gelobet  seist  du  Jesu  Christ"  was  sung  at  Christmas  Matins 
in  about  1450.    Besides  these  a  large  number  of  hymns  to  the  Virgin 


Luther's  hymns  5 

Mary,  and  the  saints,  was  produced.  German  pilgrims  to  the  graves 
of  the  Apostles  and  saints  in  Rome  were  known  already  in  1220.  They 
sang  their  songs  of  praise,  to  the  glory  of  God  and  the  saints,  at  the  portals 
of  churches.  During  the  days  of  the  pestilence  of  1348,  the  Flagellants 
moved  in  great  companies  through  the  country  singing  penitential 
hymns. 

In  the  oriental  Church  sacred  song  *was  fostered  with  great  diligence. 
Musical  instruments  were  not  in  use,  not  even  organs.  When  Russia 
assented  to  Christianity  (a.  d.  870),  the  grand-dukes  brought  singers 
from  Greece  and  Bulgaria  and  estabUshed  a  singing-school  in  the  Cavern 
Cloister  at  Kiev.  The  Russian  Church  substituted  polyphonic  male- 
choir  singing  for  the  unison  Gregorian  Chant,  and  retains  this  manner 
and  method  to  the  present  time.  In  Russia,  as  in  Greece,  the  people 
remain  silent  in  church,  while  without  her  sacred  portals  they  sing  many 
sacred  songs. 

Their  allied  nations,  the  Bohemians  and  Moravians,  fared  better 
than  the  Russians.  They  prevented  the  introduction  of  Latin,  as  an 
ecclesiastical  language,  for  centuries;  and  when,  finally,  they  wxre  com- 
pelled to  yield  to  it,  the  people  still  sang  sacred  songs,  in  their  native 
tongue,  without  the  church.  When  John  Huss  began  reformatory 
movements  in  Bohemia,  he  first  collected  old  hymns,  still  familiar  to  the 
people,  and  introduced  them  into  the  services  of  the  church.  When, 
at  the  close  of  the  terrible  Hussite  War,  the  Church  of  Rome  again  gained 
supremacy  over  the  Bohemians,  the  congregations  of  Moravian  and  Bo- 
hemian Brethren  retained  their  h^mns,  and  sang  their  creed  in  concert. 
The  hymns  of  the  latter  contain  a  peculiarly  fervent  and  thoughtful 
strain;  their  melodies  have  an  extremely  pleasing  and  ennobling  tone. 
Michael  Weiss,  pastor  of  congregations  in  Landskron  and  Fulneck, 
published,  1531,  a  German  hymn-book  containing  155  hymns,  most 
of  which  are  translations  from  the  Bohemian.  The  most  familiar  of 
these,  "Nun  lasst  uns  den  Leib  begraben,"  he  took  from  Prudentius. 
Luther  recast  it  into  a  smoother  and  more  readable  form.  The  Bohemian 
Brethren,  as  members  of  the  musically  proficient  Slavonian  race,  were 
extremely  fond  of  singing.  The  Bohemians  and  Russians,  Greeks  and 
Romans,  the  peoples  of  Asia  Minor,  and  the  ancient  IsraeHtes,  all  com- 
bine to  form  the  grand  and  exalted  portals  that  swing  before  the  halls  of 
sacred  song  and  upon  whose  threshold  stands  the  father  of  German 
hymnology.  Doctor  Martin  Luther. 


LUTHER  S   HYMNS 


The  Preparation  of  Luther 


pOETRY  is  sublime  thought  expressed  in  chaste  metrical  style.  He 
who  versifies  the  Psalms  of  David,  the  sweet  singer  of  Israel,  and  gives 
utterance  to  the  Gospel  thoughts  of  love,  life  and  hope,  in  metrical  form, 
intones  not  only  the  sublime  but  far  more  the  divine.  When  kings  have 
failed  and  empires  fallen,  the  kingdom  of  our  God  rises  out  of  the  ruins, 
clear  of  every  fault,  so  that,  as  a  bride,  she  may  be  in  the  glory  of  her 
Lord  forever.  The  rhythmic  form  of  expression,  when  words  flow 
smoothly  on,  appeals  most  strongly  to  the  human  heart  and  mind. 
Thoughts  thus  imbibed  linger  longest,  if  e'er  they  be  forgot.  But  tones 
as  well  as  words  vibrate  on  in  constant  re-echoing  strains.  Poetry  adapted 
to  music,  or  harmonies  breathing  tender  strains  of  thought  that  flow 
like  placid  waters  through  every  verse,  set  to  words,  is  twice  made 
poetry. 

Luther  was  fond  of  poetry  and  music,  and  was  a  master  of  the  German 
tongue.  Long  before  Shakespeare  wrote  his  famous  passage  about  *'The 
man  that  hath  no  music  in  himself,"  Luther  said, 

"There  is  no  doubt  that  many  seeds  of  splendid  virtues  are  to  be  found  in  such 
souls  as  are  stirred  by  music;  and  those  who  have  no  feeling  for  it  I  hold  no  better 
than  stocks  and  stones.  If  any  man  despises  music,  as  all  fanatics  do,  for  him  I 
have  no  liking;  for  music  is  a  gift  and  grace  of  God,  not  an  invention  of  men. 
Thus  it  drives  out  the  devil  and  makes  people  cheerful.  Then  one  forgets  all  wrath, 
impurity,  sycophancy  and  other  vices.  ...  I  give  music  the  highest  and  most 
honorable  place;  and  every  one  knows  how  David  and  all  the  saints  put  their 
divine  thoughts  into  verse,  rhyme  and  song." 

That  God  began  to  train  Luther's  soul  for  this  high  and  fine  art, 
early  in  life,  is  seen  in  his  student  day  experiences.  The  childhood  train- 
ing by  his  mother  who  taught  him  the  Ten  Commandments,  the  Creed 
and  the  Lord's  Prayer,  was  supplemented  by  the  elementary  schools  of 
Mansfeld  where  he  acquired  knowledge  of  the  Psalter,  and  of  a  number 
of  the  classical  hymns  which,  in  future  years,  he  translated,  amplified 
and  adapted  to  popular  use.  At  Magdeburg,  as  a  lad  of  fourteen  years, 
thrown  upon  his  own  resources  for  support,  he  sang  for  alms  at  the  win- 
dows of  the  wealthier  citizens.  Wenceslaus  Link,  his  subsequent  co- 
laborer,  was  among  his  comrades.  This  mode  of  obtaining  a  livelihood 
had  been  rendered  respectable  by  the  example  of  the  mendicant  friars 
who  had  exalted  poverty  to  the  rank  of  a  virtue.  His  parents  preferred 
that  he  should  not  remain  among  entire  strangers,  and  so  transferred 
him,  1498,  to  the  school  in  Eisenach,  the  home  of  his  mother's  family, 


Luther's  hymns  7 

who,  however,  could  aid  him  but  little.  He,  therefore,  continued  to  sing 
for  his  support.  Attracted  by  the  open  countenance  and  sweet  voice 
of  the  boy,  Madam  Ursula  Cotta,  the  wife  of  a  leading  merchant  of  the 
town,  invited  him  into  her  house,  and  ultimately  gave  him  a  home  for 
the  rest  of  his  school  days  in  Eisenach.  The  Eisenach  school  brought 
him  under  the  influence  of  a  great  and  good  man,  his  teacher,  John 
Trebonius,  in  whom  learning  and  courtesy  were  well  blended.  His 
home  in  the  Cotta  family  brought  him  into  close  relations  with  the  Order 
of  the  Franciscans  for  whom  an  institution,  in  this  neighborhood,  had 
been  founded  and  endowed,  by  the  Shalbe  family,  from  which  Madam 
Cotta  came.  His  growing  intimacy  with  an  Eisenach  priest,  John  Braun, 
also  furthered  his  religious  development,  at  this  time. 

The  monastic  experiences  of  Luther  served  as  another  important 
element  in  his  preparation  for  a  great  work.  He  invited  his  most  inti- 
mate friends,  July  16,  1505,  to  spend  the  evening  with  him,  as  he  believed, 
for  the  last  time  on  earth;  for  he  was  resolved  to  fulfil  his  vow  to  become 
a  monk.  This,  he  beheved,  was  to  be  the  last  occasion  on  which  he  might 
enjoy  music  and  song.  But  it  only  revealed  an  interesting  paradox  in 
his  life.  "He  who  could  sing  and  play  over  the  prospect  of  renouncing 
singing  and  playing,  for  Christ's  sake,  was  to  find,  hereafter,  that  Christ 
was  to  be  honoured  by  song  and  music  rather  than  by  silence,  and  by 
social  intercourse  and  contact  with  the  world  rather  than  by  seclusion." 
To  amend  abuses  and  enforce  the  requirements  of  a  stricter  life,  a  "special 
congregation"  was  organized  within  the  Order,  to  which  the  Augustin- 
ians  of  Saxony  belonged.  A  new  duty  of  the  "special  congregation" 
was  that  of  a  diligent  study  of  the  Sacred  Scriptures.  Matthesius 
reports  how  diligently  Luther  studied  the  Psalms  and  the  Epistles  to 
the  Romans  and  the  Hebrews,  carefully  considering  each  sentence  word 
by  word.  He  spent  a  great  deal  of  time  in  the  daily  services  of  the 
cloister.  He  was  so  attentive  to  every  duty  that  his  instructor,  Natin, 
declared  to  a  cloister  of  nuns,  at  Muelhausen,  that  he  was  a  "model  of 
holiness. "  Melanchthon  says,  "  In  all  the  exercises  of  lessons,  discussions, 
fastings,  prayers,  Luther  far  surpassed  all."  Luther  himself  says,  "If  a 
monk  ever  could  have  gone  to  heaven  by  his  observance  of  monastic 
vows,  I  would  have  been  the  one." 

His  mind  and  intellect  also  were  thoroughly  trained  and  cultivated 
for  his  high  calling,  by  the  schools  he  attended  and  the  studies  he  pursued. 
At  the  University  of  Erfurt  he  was  under  the  instruction  of  two  most 
noted  philosophical  scholars,  Jodocus  Trutvetter  of  Eisenach  and  Bar- 
tholomew Arnoldi  of  Usingen.     The  writings  of  William  Occam,  Peter 


8  Luther's  hymns 

D'Ailly,  John  Gerson  and  Gabriel  Biel,  constituted  text-books  of  this 
period.  He  received  his  degree  of  Bachelor  of  Arts  on  September  29, 
1502;  and  on  Epiphany,  1505,  he  was  graduated  with  the  degree  of 
Master  of  Arts.  His  piety,  during  his  student  days,  is  attested  by 
Matthesius,  his  pupil  and  intimate  friend,  who  says  Luther  began  each 
day's  labor  with  prayer,  according  to  his  motto:  ''Bene  orasse  est  bene 
studuisse, "  to  have  prayed  well  is  to  have  studied  well.  Matthesius  also 
spoke  of  the  delight  with  which  he  read  the  Bible,  a  Latin  copy  of  which 
he  found  in  the  university  library. 

He  was  ordained  to  the  priesthood  and  celebrated  his  first  Mass  on 
Cantate  Sunday,  May  2,  1507.  He  then  actually  believed  that  his 
words  brought  the  body  and  blood  of  his  Lord  to  the  altar,  which  caused 
him  great  trepidation.  On  the  9th  of  March,  1509,  he  became  a  Bache- 
lor of  Theology;  and  on  the  19th  of  October,  1512,  he  received  the  de- 
gree of  Doctor  of  the  Holy  Scriptures.  This  opened  to  him  the  sphere 
of  his  heart's  desire.  He  studied  hard,  and  by  his  masterly  lectures  at- 
tracted great  attention.  The  celebrated  Mellerstadt,  then  rector  of  the 
university,  often  said  of  him: 

"This  monk  will  confound  all  the  doctors,  introduce  a  new  doctrine  and  reform 
the  Romish  Church;  for  he  devotes  himself  to  the  writings  of  the  Prophets  and 
Apostles,  and  takes  his  position  upon  the  Word  of  Jesus  Christ,  which  no  man 
is  able  to  refute  or  overthrow  with  philosophy  or  sophistry." 

The  humanist,  Mosellanus,  said, 

"He  has  a  soft,  clear  voice,  great  learning,  and  is  so  intimate  with  the  Sacred 
Scriptures  that  he  knows  them  almost  by  heart.  He  is  sufficiently  acquainted 
with  Greek  and  Latin  to  determine  all  sorts  of  Biblical  commentary.  In  con- 
versation he  is  copious  and  varied,  a  very  forest  of  words  and  of  matter.  He  is 
easy,  polished  and  never  pedantic.  In  controversy  he  is  defiant  and  incisive,  as 
a  theologian  ought  to  be." 

Endowed  with  a  high  order  of  sentiment  and  great  knowledge, 
Martin  Luther  was  prepared  to  present  two  great  works  to  the  com- 
mon people:  a  vernacular  Bible  and  vernacular  worship;  so  that,  by  the 
one,  God  might  speak  directly  to  the  people,  and  through  the  other,  the 
people  might  speak  directly  to  God.  Luther's  German  translation  of 
the  Bible,  and  his  hymns,  awoke^a  new  Hfe  in  the  Churches  of  the  Refor- 
mation and  created  a  new  German  nationality. 


r.        r, 

<       c 
3 


Estimates  of  Luther 

gAMUEL  TAYLOR  COLERIDGE  says, 

''Luther  did  as  much  for  the  Reformation  by  his  hymns  as  by  his  translation 
of  the  Bible.  In  Germany,  his  hymns  are  known,  by  heart,  by  every  peasant; 
they  advise,  they  argue  from  the  hymns,  and  every  soul  in  the  Church  praises 
God  Hke  a  Christian,  with  words  which  are  natural  and  yet  sacred  to  the  mind." 

CPANGENBERG,  in  his  preface  to  the  Cithara  Lutheri,  1545,  wrote, 

"One  must  certainly  let  this  be  true,  and  remain  true,  that  among  all  master 
singers,  from  the  days  of  the  Apostles  until  now,  Luther  is  and  always  will  be  the 
best  and  most  accompHshed.  In  his  hymns  and  songs  one  does  not  find  a  vain  or 
needless  word.  All  flows  and  falls  in  the  sweetest  and  neatest  manner,  full  of 
spirit  and  doctrine,  so  that  his  every  word  gives  outright  a  sermon  of  his  own,  or 
at  least  a  singular  reminiscence.  There  is  nothing  forced,  nothing  foisted  or 
patched-up,  nothing  fragmentary.  The  rhymes  are  easy  and  good,  the  words 
choice  and  proper,  the  meaning  clear  and  intelligible,  the  melodies  lovely  and 
hearty,  and,  in  short,  all  is  so  rare  and  majestic,  so  full  of  pith  and  power,  so  cheer- 
ing and  comforting  that,  forsooth,  you  will  not  find  his  equal,  much  less  his  master.'* 

npHE  words  of  Thomas  Carlyle  are  emphatic: 

"The  great  Reformer's  love  of  music  and  poetry,  it  has  often  been  remarked, 
is  one  of  the  most  significant  features  in  his  character.  But,  indeed,  if  every  great 
man  is  intrinsically  a  poet,  an  idealist,  with  more  or  less  completeness  of  utterance, 
which  of  all  our  great  men,  in  these  modern  ages,  had  such  an  endowment  in  that 
kind  as  Luther?  He  it  was,  emphatically,  who  stood  based  on  the  spiritual  world 
of  man,  and  only  by  the  footing  and  power  he  had  obtained  there,  could  work 
such  changes  in  the  material  world.  As  a  participant  in,  and  dispenser  of  divine 
influence,  he  shows  himself,  among  human  affairs,  a  true  connecting  medium,  and 
visible  messenger,  between  heaven  and  earth;  a  man,  therefore,  not  only  per- 
mitted to  enter  the  sphere  of  poetry  but  to  dwell  in  the  purest  centre  thereof, — 
perhaps  the  most  inspired  of  all  teachers  since  the  Apostles.  Unhappily  or  hap- 
pily, Luther's  poetic  feeling  did  not  so  much  learn  to  express  itself  in  fit  words 
that  take  captive  every  ear,  as  in  fit  actions  wherein,  truly  under  still  more  im- 
pressive manifestations,  the  spirit  of  spheral  melody  resides  and  still  audibly 
addresses  us.  In  his  written  poems  we  find  little  save  the  strength  of  one  'whose 
words,'  says  Richter,  'were  half  battles,'  little  of  that  still  harmony  and  blending 
softness  of  union  which  is  the  last  perfection  of  strength,  less  of  it  than  even  his 
conduct  manifested.  With  words  he  had  not  learned  to  make  music;  it  was  by 
deeds  of  love,  or  heroic  valor,  that  he  spoke  freely.  Nevertheless,  though  in  im- 
perfect articulation,  the  same  voice,  if  we  listen  well,  is  to  be  heard  also  in  his 
writings,  in  his  poems.  The  hymn,  'Ein  feste  Burg,'  universally  regarded  as  the 
best,  jars  upon  our  ears;  yet  there  is  something  in  it  hke  the  sound  of  Alpine  ava- 
lanches, or  the  first  murmur  of  earthquakes,  in  the  very  vastness  of  which  dissonance 
a  higher  unison  is  revealed  to  us.    Luther  wrote  this  hymn  in  times  of  blackest 


lo  Luther's  hymns 

threatenings  which,  however,  could  in  no  sense  become  a  time  of  despair.  In 
these  tones,  rugged  and  broken  as  they  are,  we  hear  the  accents  of  that  sum- 
moned man  who  answered  his  friends'  warning  not  to  enter  Worms,  in  this  wise: 
'Were  there  as  many  devils  in  Worms  as  these  tiles  on  the  roofs,  I  would  on/  we 
hear  the  accents  of  him  who  alone  in  that  assemblage,  before  all  emperors  and 
principalities  and  powers,  spoke  forth  these  final  and  forever  memorable  words: 
*It  is  neither  safe  nor  prudent  to  do  aught  against  conscience.  Till  such  time 
as  either  by  proofs  from  Holy  Scripture,  or  by  fair  reason  or  argument,  I  have 
been  confuted  or  convicted,  I  can  not  and  will  not  recant.  Here  I  stand,  I  can 
not  do  otherwise,  God  be  my  help,  Amen.'  It  is  evident  enough  that  to  this  man 
all  popes,  cardinals,  emperors,  devils,  all  hosts  and  nations,  were  but  weak,  weak 
as  the  forest,  with  all  its  strong  trees,  might  be  to  the  smallest  spark  of  electric 
fire." 

TN  the  third  volume  of  his  History  of  the  Reformation,  Dr.  Merle 

d'Aubign^  writes: 

''The  Church  was  no  longer  composed  of  priests  and  monks;  it  was  now  the 
congregation  of  beUevers.  All  were  to  take  part  in  worship;  and  the  chanting  of 
the  clergy  was  to  be  succeeded  by  the  psalmody  of  the  people.  Luther,  accordingly, 
in  translating  the  Psalms,  thought  of  adapting  them  to  be  sung  by  the  Church. 
Thus  a  taste  for  music  was  diffused  throughout  the  nation.  From  Luther's  time 
the  people  sang,  and  the  Bible  inspired  their  songs.  Poetry  received  the  same 
impulse.  In  celebrating  the  praises  of  God,  the  people  could  not  limit  them- 
selves to  mere  translations  of  ancient  anthems.  The  souls  of  Luther  and  several 
of  his  contemporaries,  elevated  by  their  faith  to  thoughts,  the  most  sublime, 
excited  to  enthusiasm  by  the  struggles  and  dangers  by  which  the  Church,  from 
her  birth,  was  unceasingly  threatened,  inspired  by  the  poetic  genius  of  the  Old 
Testament,  and  the  faith  of  the  New,  ere  long  gave  vent  to  their  feelings  in  hymns, 
in  which  all  that  is  heavenly  in  poetry  and  music  was  united  and  blended.  Hence 
the  revival,  in  the  16th  century,  of  hymns,  such  as  in  the  first  century  used  to  cheer 
the  martyrs  in  their  sufferings.  We  have  seen  Luther,  in  1523,  employ  it  to  cele- 
brate the  martyrs  of  Brussels.  Other  children  of  the  Reformation  followed  in  his 
footsteps;  hymns  were  multiplied,  spread  rapidly  among  the  people,  and  power- 
fully contributed  to  rouse  them  from  sleep." 

'\\/'HILE  Philip  Melanchthon  stood  beholding  a  picture  of  Luther,  on 
a  certain  occasion,  he  musingly  said, 
"Fulmina  erant  singula  verba  tua,"  thy  individual  words  are  thunderbolts. 


JACOB  GRIMM  says, 


"Luther  has  made  use  of  his  mother  tongue  with  such  force,  purity  and  beauty, 
that  his  style,  from  its  powerful  influence  on  our  whole  language,  must  be  con- 
sidered to  have  been  the  germ  and  laid  the  basis  of  the  modern  High  German 
Language  from  which,  up  to  the  present  day,  but  few  deviations  have  taken  place, 
and  those  mostly  to  the  detriment  of  its  force  and  expressiveness." 


LUTHER  S   HYMNS  II 

pROBABLY  the  most  direct  testimony  to  Luther's  efforts,  as  a  com- 
poser of  music,  is  given  in  a  letter  by  the  composer,  John  Walter, 
Capellmeister  to  the  Elector  of  Bavaria,  written  in  his  old  age  for  the 
express  purpose  of  embodying  his  reminiscences  of  his  illustrious  friend, 
as  a  church  musician : 

'It  is  to  my  certain  knowledge,"  Walter  writes,  "that  that  holy  man  of  God, 
Luther,  prophet  and  apostle  to  the  German  nation,  took  great  deUght  in  music, 
both  in  choral  and  figural  composition.  I  spent  many  a  delightful  hour  with  him 
in  singing;  and  ofttimes  I  have  seen  the  dear  man  wax  so  happy,  and  merry  in 
heart,  over  the  singing  that  it  is  well  nigh  impossible  to  weary  or  content  him 
therewithal!.     And  his  discourse  concerning  music  was  most  noble. 

*'Some  forty  years  ago,  when  he  would  set  up  the  German  Mass  at  Witten- 
berg, he  wrote  to  the  Elector  of  Saxony  and  Duke  John,  of  illustrious  memory, 
begging  to  invite  to  Wittenberg  the  old  musician,  Conrad  Rupfli,  and  myself,  to 
consult  with  him  about  the  character  and  proper  notation  of  the  Eight  Tones; 
and  he  finally  himself  decided  to  appropriate  the  Eighth  Tone  to  the  Epistle,  and 
the  Sixth  Tone  to  the  Gospel,  saying,  'Our  Lord,  Christ,  is  a  good  friend,  and  his 
words  are  full  of  loVe,  therefore  we  will  take  the  Sixth  Tone  for  the  Gospel.  And, 
since  St.  Paul  is  a  very  earnest  apostle,  we  will  set  the  Eighth  Tone  to  the  Epistle.' 
So  he  himself  wrote  the  notes  over  the  Epistles  and  Gospels  and  over  the  Words 
of  the  Institution  of  the  true  Body  and  Blood  of  Christ,  and  sang  them  before  me 
in  order  to  obtain  my  opinion  regarding  them.  He  detained  me  at  Wittenberg 
for  three  wrecks,  until  he  had  written  the  notes  over  some  of  the  Gospels  and 
Epistles,  and  the  first  German  Mass  was  sung  in  the  parish  church.  He  insisted 
that  I  should  remain  and  hear  it  sung;  and  take  with  me  a  copy  of  the  Mass  to 
Torgau  and  present  it  to  His  Grace,  the  Elector,  from  Doctor  Luther. 

''Furthermore,  he  gave  orders  to  re-establish  the  Vespers,  which,  in  many 
places,  had  fallen  into  disuse,  with  short,  plain  choral  hymns  for  the  students  and 
boys;  and  that  the  charity-scholars,  collecting  their  bread,  should  sing,  from  door 
to  door,  Latin  hymns,  anthems  and  responses  appropriate  to  the  season.  It  did 
not  please  him  to  have  the  scholars  sing  nothing  but  German  songs  in  the  streets. 
.  .  .  The  most  profitable  songs  for  the  common  people  are  the  plain  Psalms  and 
hymns,  both  Luther's  and  earlier  compositions;  but  Latin  songs  are  useful  for  the 
learned  and  for  students.  We  see,  and  hear,  and  clearly  apprehend,  how  the 
Holy  Ghost  wrought  in  the  authors  of  the  Latin  hymns,  and  in  Luther  who  in 
our  time  has  been  foremost  in  writing  German  choral  hymns,  and  setting  them  to 
tunes.  The  German  Sanctus,  'Jesaia  dem  Propheten  das  geschah,'  shows  how 
masterly  and  well  he  fitted  all  the  notes  to  the  text,  according  to  the  correct  accent 
and  concent.  At  that  time,  I  was  moved  to  ask  him  how  or  where  he  acquired 
this  composition,  whereupon  the  dear  man  laughed  at  my  simplicity  and  said, 
*I  learned  this  from  the  poet  Virgil  who  has  the  power  so  artfully  to  adapt  his 
verses  and  words  to  the  story  he  is  telling;  in  like  manner  as  the  text  of  music 
must  control  all  its  notes  and  melodies.'  " 


12  Luther's  hymns 

LEONARD  WOOLSEY  BACON'S  book,  which  appeared  in  connec- 
tion with  the  quarto-centennial  celebration  of  Luther's  birth,  1883, 
contains  a  testimony  of  Sleiden,  the  historian  nearly  contemporary  with 
Luther,  concerning  ^'Ein  feste  Burg,"  that  Luther  made  for  it  a  tune 
singularly  suited  to  the  words,  and  adapted  to  stir  the  heart.  If  ever 
hymn  and  tune  told  their  own  story,  and  showed  a  common  and  simul- 
taneous origin,  without  need  of  confirmation  by  external  evidence,  it  is 
these: 

''To  an  extent  quite  without  parallel  in  the  history  of  music,  the  power  of 
Luther's  tunes,  as  well  as  his  words,  is  manifest,  after  three  centuries,  over  the 
masters  of  the  art,  as  well  as  over  the  common  people.  This  is  peculiarly  true 
of  the  great  'Ein  feste  Burg'  which,  it  was  not  vainly  predicted,  would  again  be 
heard  in  Europe  in  like  manner  as  of  old.  The  composers  of  the  16th  and  17th 
centuries  practiced  their  elaborate  artifices  upon  it.  The  supreme  genius  of 
Sebastian  Bach  made  it  the  subject  of  study.  In  our  own  times,  it  has  been  used 
with  conspicuous  effect  in  Mendelssohn's  Reformation  Symphony,  in  an  overture 
by  Raff,  in  the  noble  Fest-overture  of  Nicolai,  and  in  Wagner's  Kaisermarsch, 
written  to  commemorate  the  return  of  Emperor  William  I,  1871,  after  the  Franco- 
German  war,  and  is  introduced  with  recurring  emphasis  in  Meyerbeer's  master- 
piece of  the  Huguenots." 

When  the  question  of  some  stirring  anthem,  for  the  opening  of  the 
great  World's  Fair  in  Chicago,  1893,  arose,  it  was  resolved  unanimously, 
after  a  thorough  survey  of  all  the  material  at  hand,  that  Luther's  Battle 
Hymn,  ^'Ein  feste  Burg,"  was  the  only  hymn  that  could  stand  the 
strain,  and  meet  the  spirit  of  enthusiasm  then  felt.  *'Ein  feste  Burg" 
is  one  of  the  favorite  hymns  of  the  German  army,  and  people,  in  the 
present  European  struggle. 

Luther's  Prefaces 
TN  his  preface  to  the  collection  of  hymns  by  John  Walter,  1525,  Luther 

says, 

"That  it  is  good  and  pleasing  to  God  for  us  to  sing  spiritual  songs  is,  I  think, 
a  truth  whereof  no  Christian  can  be  ignorant,  since  not  only  the  example  of  the 
prophets  and  kings  of  the  Old  Testament  who  praised  God  with  singing  and  music, 
poesy  and  all  kinds  of  stringed  instruments,  but  also  the  like  practice  of  all  Christen- 
dom from  the  beginning,  especially  in  respect  to  Psalms,  is  well  known  to  every  one. 
Yea,  St.  Paul  doth  also  appoint  the  same,  1  Cor.  14,  and  command  the  Colossians, 
in  the  third  chapter,  to  sing  spiritual  songs  and  Psalms,  from  the  heart,  unto  the 
Lord,  that  thereby  the  Word  of  God,  and  Christian  doctrine,  be  in  every  way 
furthered  and  practiced. 

"Accordingly,  to  make  a  good  beginning,  and  to  encourage  others  who  can 
do  it  better,  I,  and  a  few  associates,  have  put  together  a  few,  in  order  to  bring  into 
full  play  the  blessed  Gospel  which,  by  God's  grace,  again  hath  risen:  that  we  may 


Luther's  hymns  13 

boast,  as  Moses  doth,  in  his  song,  Ex.  15,  that  Christ  is  become  our  praise  and  our 
song,  and  that,  whether  we  sing  or  speak,  we  may  not  know  anything  save  Christ, 
our  Saviour,  as  also  St.  Paul  saith  in  1  Cor.  2. 

"These  hymns  have  been  set  in  four  parts  for  no  other  reason  than  that  I 
wished  to  provide  our  young  people,  who  both  will  and  ought  to  be  instructed  in 
music  and  other  sciences,  with  something  whereby  they  might  rid  themselves  of 
amorous  and  carnal  songs,  and,  in  their  stead,  learn  something  wholesome,  and 
so  apply  themselves  to  what  is  good,  with  pleasure,  as  becometh  the  young. 

"Besides  this,  I  am  not  of  the  opinion  that  all  sciences  should  be  beaten  down 
and  made  to  cease  by  the  Gospel,  as  some  fanatics  pretend,  but  I  would  fain  see 
all  the  arts,  and  music,  in  particular,  used  in  the  service  of  him  who  hath  given  and 
created  them.  Therefore  I  entreat  every  pious  Christian  to  give  a  favorable 
reception  to  these  hymns,  and  to  help  forward  my  undertaking,  according  as  God 
hath  given  him  more  or  less  ability.  The  world  is,  alas,  not  so  mindful  and  dili- 
gent to  train  and  teach  our  poor  youth,  wherefore  we  ought  to  be  forward  to  pro- 
mote the  same.     God  grant  us  his  grace.     Amen." 

TN  his  preface  to  a  collection  of  funeral  hymns,  1542,  Luther  says, 

"St.  Paul  writes  to  the  Thessalonians  that  they  should  not  sorrow  for  the 
dead  as  others  that  have  no  hope,  but  should  comfort  one  another  with  God's 
Word,  as  those  who  have  a  sure  hope  of  life  and  of  the  resurrection  of  the  dead. 

"For  that  they  should  sorrow  that  have  no  hope  is  not  to  be  wondered  at,  nor 
indeed  are  they  to  be  blamed  for  it,  since,  being  shut  out  from  the  faith  of  Christ, 
they  must  either  regard  and  love  this  present  life  only  and  be  loth  to  lose  it,  or, 
following  this  life,  look  for  eternal  death,  and  the  wrath  of  God,  in  hell,  and  be 
unwilling  to  go  there. 

"But  we  Christians,  who  have  been  redeemed  from  all  this,  by  the  precious 
blood  of  the  Son  of  God,  should  exercise  and  wont  ourselves  in  faith  to  despise 
death,  to  look  upon  it  as  a  deep,  sound,  sweet  sleep,  the  coffin  as  no  other  than 
the  bosom  of  our  Lord,  Christ,  or  paradise,  and  the  grave  nought  but  a  soft  couch 
of  rest;  as  indeed  it  is  in  the  sight  of  God,  as  he  saith  in  St.  John  11,  'Our  friend, 
Lazarus,  sleepeth';  and  in  St.  Matthew  9,  'The  maid  is  not  dead  but  sleepeth.' 

*     *     * 

"Accordingly  we  have,  in  our  churches,  abolished,  done  away,  and  out  and 
out  made  an  end  of  the  popish  horrors,  such  as  wakes,  masses  for  the  soul,  ob- 
sequies, purgatory,  and  all  other  mummeries  for  the  dead,  and  will  no  longer  have 
our  churches  turned  into  wailing  places  and  houses  of  mourning,  but,  as  the  primi- 
tive fathers  called  them,  cemeteries,  that  is,  resting  and  sleeping  places. 

*  *     * 

"We  sing,  withall,  beside  our  dead  and  over  their  graves,  no  dirges  or  lamen- 
tations, but  comforting  songs  of  the  forgiveness  of  sins,  of  rest,  sleep,  life  and 
resurrection  of  the  departed  believers,  for  the  strengthening  of  our  faith,  and  the 
stirring  up  of  the  people  to  a  true  devotion. 

*  *     * 

"As  a  good  example  of  what  should  be  used,  we  have  taken  the  sweet  music, 
or  melodies,  which  under  popish  rule  are  in  use  at  wakes,  funerals  and  masses  for 


1 6  Luther's  hymns 

had  always  been  a  friend  of  music  and  poetry;  and  yet  he  considered 
his  hand  too  coarse  and  clumsy  to  touch  the  harp  of  David. 

However  valuable  and  helpful  Spalatin's  friendship  to  Luther  was 
in  other  matters,  it  did  not  prove  favorable  in  this  instance.  Both 
Spalatin  and  Doelzig  remained  silent.  His  friend,  Justus  Jonas,  how- 
ever, pleased  him  greatly  by  sending  him  a  hymn  based  on  the  124th 
Psalm:  "Wo  Gott  der  Herr  nicht  bei  uns  haelt."  Paul  Speratus,  of  far 
away  Prussia,  also  sent  his  hymn,  to  Wittenberg:  "Es  ist  das  Heil  uns 
kommen  her." 


Initial  Publication   of  Hymns,  and   Luther's   Labors   Upon   a 
Revision  of  the  Order  of  Worship 

T^HE  Reformation  era  contains  well  defined  features  of  poetry.  Zwick 
and  Blaurer  are  noted  contemporaries  of  Zwingli;  and  prominent 
in  Lutheran  circles  are  Loener,  Agricola  and  Spengler.  Luther,  how- 
ever, stands  pre-eminent  in  creating  poems  of  a  clear  and  unique  type, 
as  is  evidenced  by  such  hymns  as :  "Aus  tiefer  Noth  schrei  ich  zu  dir"; 
"Ein  neues  Lied  wir  heben  an";  "Ein  feste  Burg  ist  unser  Gott";  "Vom 
Himmel  hoch  da  komm  ich  her."  The  classical  period  of  Protestant 
hymnody,  in  order  to  distinguish  it  from  later  times,  may  be  called  the 
epoch  of  the  objective  Confessional  Hymn.  The  majority  of  Luther's 
hymns  are  fashioned,  to  a  greater  or  lesser  degree,  after  certain 
models;  although  some  of  them  are  altogether  original  productions. 
The  reediting  of  them  created  the  impression  that  Luther  germanized 
ancient  hymns,  chiefly,  in  order  to  make  them  accessible  to  the  com- 
mon people.  He  held  them  in  such  high  esteem  that  he  shrank 
from  making  additions  thereto.  They  may  have  appeared  to  him,  in 
their  entirety,  of  such  a  high  order  as  to  require  nothing  beyond  a 
translation. 

For  a  long  time  the  opinion  prevailed  that  the  majority  of  his  h3mins 
arose  during  the  period  in  which  they  were  first  pubHshed.  It  is  scarcely 
imaginable  that  a  man  of  forty,  who  has  been  in  close  touch  with  music 
from  his  youth  and,  laboring  with  special  predilection  upon  the  Psalms 
for  years,  should  suddenly  become  a  poet.  The  history  of  literature 
knows  such  phenomena  (K.  F.  Meyer  and  Frederick  Reuter),  but  the 
case  of  Luther  would  be  especially  unique,  as  though  his  poesy  had 
passed  with  a  sudden,  mighty  explosion.  The  variety  of  the  hymns, 
published  in  1524,  does  not  necessarily  show  that  all  of  them  were  written 
during  the  same  year.     Achehs,  Spitta  and  Klippgen  also  deny  this 


Doctor  of  the  Holy  Scriptures. 

Designed  by  Gustav  Koenig. 


Luther's  hymns  17 

hypothesis.  In  order  to  obtain  a  clear  opinion,  on  the  subject,  it  is 
necessary  to  picture  Luther's  plans  in  those  days. 

His  activity  in  the  revision  of  the  Order  of  Worship  began  with  his 
escape  from  the  Wartburg.  The  Iconoclastic  storm  demanded  his 
presence.  By  means  of  eight  sermons,  preached  in  so  many  days,  in 
the  Parish  Church,  he  protested  against  the  zeal  of  the  fanatics.  He 
would  not  have  any  thing  ruthlessly  destroyed.  The  Mass  remained 
untouched.  Latin  hymns  were  sung  again.  The  responses  by  the 
minister  and  the  choir,  in  the  celebration  of  the  Sacraments  were  restored. 
Deacons,  or  more  frequently  the  sexton,  took  the  place  of  the  boys, 
since  the  school  for  boys  had  been  closed.  In  the  Castle  church  the 
orthodox  dignitaries  clung  to  the  celebration  of  the  Mass,  both  public 
and  private.  When,  through  his  sermons  which  Luther  preached  in 
many  places  in  Saxony  and  Thuringia,  he  had  restored  the  reformatory 
movement  in  harmony  with  his  design,  and  when  new  features,  intro- 
duced by  him  into  worship,  had  grown  into  the  organism  of  the  Church, 
he  proceeded  a  step  farther.  He  admitted  all  the  festivals  in  which 
the  facts  of  the  Hfe  of  Christ  wxre  celebrated.  The  festival  to  Mary  was 
excluded.  In  the  Sunday  services  many  hymns,  hitherto  a  part  of  the 
Liturgy,  were  omitted.  During  the  summer  of  1523  he  still  clearly 
asserts  that  it  is  his  purpose  to  admonish  the  people  not  wilfully  to 
abandon  Low  Mass;  and  yet,  the  reading  of  the  Mass  in  the  College 
church  ceased  almost  altogether  during  this  year.  Only  a  few  digni- 
taries clung  to  it,  and  that  for  filthy  lucre's  sake.  On  the  first  Sunday 
in  Advent,  he  denounced,  with  burning  words,  the  objectionable  ele- 
ments of  the  Roman  Mass  as  blasphemous,  and  appealed  to  the  authori- 
ties to  curb  the  abomination.  Now  his  desire  for  German  hymns,  suit- 
able for  congregational  singing,  increased.  He  wrote  the  ''Formula 
Missae,"  a  form  of  Mass  and  Communion  for  the  Church  at  Witten- 
berg, at  this  time.  He  also  wrote  his  letter  to  Spalatin,  imploring  him 
to  write  hymns  suitable  for  the  whole  congregation.  The  introduc- 
tion of  congregational  singing  was  therefore  his  final  step,  in  completing 
his  Order  of  Worship. 

In  reply  to  the  inquiry,  whether  any  of  the  books  published  in  1524 
represent  the  standard  for  congregational  singing,  let  it  be  remembered 
that  Luther  says  nothing  of  this  in  his  preface  to  Walter's  Choral  Book 
which  contains  the  whole  collection  of  hymns  then  extant.  He  launched 
this  publication  with  the  same  purpose  that  Knoblocher  had  when  in 
1494  he  issued  a  collection  of  German  hymns,  'Tn  order  that  the  youth 
might  have  something  worthy  instead  of  amorous  and  carnal  songs." 


1 8  Luther's  hymns 

Evidently  Luther  did  not  succeed  in  gathering  as  many  hymns  as  he  had 
hoped.  He  denied  that  he  had  the  ability  to  write  meritorious  poems. 
In  the  Formulas  Missae  he  recognized  but  a  few  of  his  hymns  as  worthy. 
His  appeal  to  Spalatin  passed  without  success.  Also  the  princely 
Marshall  of  the  House  Guard,  John  Doelzig,  failed  to  answer  a  similar 
request. 

The  Book  of  Constance  by  John  Zwick  clearly  shows  the  sense  of 
devotional  hymns,  according  to  the  standards  of  his  day.  It  is  divided 
into  three  parts  under  the  general  heading,  "The  beginning  of  the  Psalms." 
The  divisions  are : 

1.  Sacred  Songs  and  Christian  Hymns,  some  of  which  are  sung  before 
and  some  after  the  sermon,  and  some,  "altogether  on  our  account,"  he 
says,  "instead  of  wanton  and  infamous  worldly  hymns." 

2.  Purely  Christian  and  Scriptural  Hymns  which  are,  however,  not 
used  in  the  Church.  These  are  of  a  truly  devotional  character,  and  are 
representations  of  the  Psalms. 

3.  Hymns  which  express  personal  emotions.  These  were  quite  new 
tones  as  contrasted  with  the  h3mins  and  national  airs  of  the  middle  ages. 

When  we  consider  the  precaution  with  which  he  introduced  innova- 
tions, and  the  late  date  on  which  German  congregational  singing  began, 
it  is  readily  seen  why  Luther,  in  the  selection  of  hymns,  recognized  so  few 
as  suitable  for  public  worship.  In  the  interest  of  a  more  extended  in- 
vestigation, a  brief  consideration  of  the  delivery  of  the  hymns,  and  the 
declaration  of  Luther  and  his  contemporaries,  concerning  them,  should 
be  undertaken. 

The  Delivery  in  Manuscript 

npHE  hymn,  "Vater  unser  im  Himmelreich,"  is  extant  in  Luther's 
own  hand-writing.  Winterfeld's  "Dr.  Martin  Luther's  German 
Hymns,"  Leipzig,  1840,  contains  a  facsimile  of  it.  In  1905  Max  Hermann 
found  a  copy  of  "Ein  feste  Burg  ist  unser  Gott"  in  Luther's  hand.  The 
sheet  is  pasted  into  a  copy  of  "De  amore  Divino"  by  I.  F.  Picus  Miran- 
dula,  which  appeared  in  Rome  in  1516.  It  is  a  thin  quarto  volume  with 
canonical  contents,  tied  up  in  a  proof-sheet  bearing  marks  that  belong 
to  the  close  of  the  15th  and  the  opening  of  the  16th  century.  On  the 
second  page  is  written,  in  Luther's  style:  "Hett  myr  vereret  meyn  gutter 
Freund,  Herr  Johannes  Lange,"  my  good  friend,  Mr.  John  Lange  pre- 
sented this  to  me.  The  hymn  appears,  with  several  noteworthy  correc- 
tions, at  the  bottom  of  the  page.  Hermann,  at  first,  considered  the 
writing  authentic;  he  suspected  only  a  few  minor  details.    Later  he 


19 

recalled  the  lawsuit  that  had  been  instituted  against  the  forger  of  the 
Luther  Autographs  of  **Kyrieleis."  He  secured  the  records  and,  among 
them,  found  the  book  containing  the  entry  of  the  case.  This  discovery 
cast  suspicion  also  upon  the  manuscript  containing  the  ''Vater  unser  im 
Himmelreich."  But  it  is  the  precise  characteristic  which  Hermann 
pointed  out  in  the  ^'Kyrieleis"  forgery  that  proves  this  manuscript 
authentic.  In  the  manuscript  of  "Ein  feste  Burg"  the  different  read- 
ings became  the  betrayers,  whilst  in  the  case  of  the  ''Vater  unser  im 
Himmelreich,"  as  Spitta  emphasized,  are  found  the  most  positive  proofs 
of  its  authenticity. 

The  Initial  Prints 

'T^HERE  are  a  large  number  of  individual  prints,  some  of  which  were 
published  by  Luther  himself.  Many  bear  year  marks  of  their 
composition,  as  is  shown  by  a  manuscript  volume  in  the  Heidelberg 
library.  It  is  difficult  to  ascertain  the  order  of  their  publication.  The 
opinion,  prevalent  in  later  times,  that  the  ''Achtliederbuch,"  book  of 
eight  hymns,  was  the  first  pubHcation  of  Luther's  hymns  is  taken  from 
Wackernagel  and  the  later  author,  Zelle.  If  the  supposition,  advanced 
by  Achelis,  that  the  origin  and  publication  of  the  hymns  is  not  simul- 
taneous, is  correct,  then  the  Achtliderbuch  may  not  necessarily  be 
first.  Of  the  remaining  three  editions,  of  1524,  it  is  generally  con- 
ceded, according  to  Frederick  Klippgen,  1912,  that  the  Wittenberg 
"Enchiridion,"  hand-book,  was  the  initial  publication.  It  is  believed 
Wittenberg  had  no  printery  equipped  to  print  notes,  therefore  Luther 
requested  Jonas  or  Lang  to  have  the  work  done  in  the  well  known  estab- 
lishment on  Permenter  St.,  in  Erfurt.  The  great  success  of  the  Enchi- 
ridion afforded  the  occasion  for  the  publication  of  the  Choral  Buch. 
On  July  30,  1524,  Antonius  Musa,  a  pastor  in  Jena,  wrote  to  Lang,  in 
Erfurt,  for  a  collection  of  Lutheran  hymns;  he  requested  Lang  to  pro- 
vide him  with  an  Enchiridion  of  fifteen  Psalms.  This  raises  the  unan- 
swered question:  Did  Lang,  in  response  to  this,  prepare  the  hymn  book 
published  by  Trutebul?  On  the  19th  of  January,  1524,  Spalatin  sent 
a  collection  of  Spiritual  Hymns  to  Pirkheimer.  We  know  not  what  be- 
came of  these.  A  positive  proof  for  the  order  of  the  hymns  can  not  be 
furnished,  but  the  difficulty,  according  to  the  opinion  of  many,  is  less- 
ened when  the  Choral  Buch  is  placed  at  the  head  of  the  list.  In  a  new 
edition  of  Luther's  Hymns  it  is  to  be  regarded  as  deserving  a  place 
among  the  first,  since  it  is  the  first  edition  in  which,  to  our  certain  knowl- 
edge, Luther  was  interested. 


20 


OUR  investigations,  through  the  most  recent  authorities,  authorize 
the  following  order  of  the  publications  of  his  hymns: 

1.  ''Das  geistliche  Gesang-Buechlein,"  a  small  volume  of  hymns, 
(Tenor),  Wittenberg,  1504.  This  date,  evidently,  represents  a  typo- 
graphical error  and  should  be  1524.  Copies  are  found  in  the  public 
library  of  Dresden;  the  library  of  the  Court  in  Munich;  and,  Klipp- 
gen  traced  a  copy  in  private  possession. 

2.  ^'Etlich  Christhch  lider,"  a  few  hymns,  in  accord  with  the  pure 
Word  of  God,  produced  by  learned  men  for  use  in  the  congregation,  as 
has  been  the  custom  in  Wittenberg  for  some  time.  This  is  the  well- 
known  "Achtliederbuch."  Copies  are  found  in  Berlin,  and  other  places, 
bearing  the  date  of  1524. 

3.  An  Enchiridion,  carefully  revised  and  translated  into  German, 
which  Christians  are  to  use  with  profit.  It  says,  these  hymns  are  in- 
tended to  be  faithfully  studied  and  practiced  by  Christians.  Its  date 
is  1524.  At  the  end  it  shows  that  it  was  printed  in  Erfurt,  on  Permenter 
St.,  "Zum  Ferbefass,"  paint- vessel  or  color-barrel,  1524.  A  copy  is 
found  in  the  Goslar  Library.     Zelle  published  a  new  edition. 

4.  An  Enchiridion  dated  1524.  Karl  Rein  thaler  published  a  facsimile 
edition  in  1848.  The  original  copy  was  burnt  in  the  library  at  S trass- 
burg. 

5.  An  Enchiridion  of  hymns  and  Psalms  suited  to  the  laity,  and 
many  other  hymns  formerly  improved,  Wittenberg,  1526.  A  copy  is 
found  in  the  Royal  Library  in  Berlin. 

6.  An  Enchiridion  of  hymns  and  Psalms  suited  to  the  laity,  and  an 
addition  of  hymns  formerly  improved.  This  book  contains  a  complete 
Order  of  Matins  and  Vespers,  and  the  Mass.  At  the  end  it  says :  'Trinted 
by  Michael  Blum."  It  contains,  what  is  believed  to  be,  the  oldest  print 
of  "Ein  feste  Burg,"  but  no  date  is  given. 

7.  Spiritual  hymns  again  revised  by  Martin  Luther,  Wittenberg, 
1529.    The  original  copy  was  lost  in  Helmstedt. 

8.  A  Hymn  Book  without  a  title  page.  At  the  end  it  says :  ^'Printed 
in  Wittenberg  by  Joseph  Klug,  1535."  A  copy  is  found  in  the  Library 
of  the  Court  and  State  in  Munich. 

9.  The  Wittenberg  Hymn  Book,  corrected,  improved  and  enlarged, 
by  John  Walter,  the  Electoral  Singmaster  of  Saxony,  1537.  A  copy  is 
found  in  the  District  Public  Library  of  Augsburg. 

10.  Spiritual  Hymns  again  improved  and  enlarged  by  Dr.  Martin 
Luther,  Wittenberg.  It  contains  many  Spiritual  Hymns,  produced  by 
other  pious  Christians,  and  the  Order  of  the  German  Mass.     At  the  end 


Luther's  hymns  21 

it  says:    'Trinted  in  Leipzig  by  Valten  Schuman,  1539."     Copy  in  the 
Royal  Library  in  Berlin. 

11.  Spiritual  Hymns,  Wittenberg,  1543.  Luther  warns  against  false 
masters.  At  the  end  it  says:  "Printed  in  Wittenberg,  by  Joseph  Klug, 
1543." 

12.  The  German  Hymn  Book  of  Wittenberg,  in  four  and  &\e  voices, 
by  John  Walter,  *  *  *  again  diligently  corrected  and  improved,  by 
the  addition  of  many  hymns,  *  *  *  1544. 

13.  Spiritual  Hymns,  with  a  new  Preface  by  Dr.  Martin  Luther  who 
warns  against  many  false  masters,  *  *  *  Leipzig.  At  the  end  it  says: 
"Printed  in  Leipzig  by  Valentine  Babst  on  ' Ritterstrassen,'  Knight  St., 
1545."     A  copy  is  found  in  the  Royal  Library  of  Berlin. 


The  Hymns 


23 


Translations 


(In 

iN( 


Cm  neucfif  ILitb  tuir  ftefaen  an 

By  help  of  God  I  fain  would  tell 

Compare  Psalm  98  :  1,  2 

Common  Use   1  Title-A  Martyr  Hymn 

ot  m  Common  Use,  7 

Luther,  Published  by  John  Walter,  1524. 
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^  S)a§  Wait  ©ott,  unfer  .^erte! 
3u  fingen,  tva§>  ©ott  l^at  Getl)an 
3u  fetnem  Cob  unb  (gt)te. 
3u35ruffel  in  bem  9^ieberlanb 
SKo^I  but(^  5it)een  funge  S^nal^en 
^at  er  fein  ^unber  fj'tnadjt  Sefannt, 
S)ie  er  mit  feincn  ©afien 
©0  tetd)Iid§  l)at  Qeaieret. 

2.  2)er  crft  red^t  too^l  ^of)anne§  l^eift, 
©0  retc^  an  @otte§  .g»u(ben; 

©ein  33ruber  .gteinricf)  nad)  bem  @eift 
©in  recfiter  dljrtft  ol^n  ©c^ulbcn. 
5?on  biefer  SKett  gefd)teben 

finb, 
(Ste  l)an  bie  ^on  ertcorfien, 
fRtdjt  h)ie  bie  fronimen  ®otte§!inb 
giir  fein  SKort  finb  Ge[tor6cn 
©ein  5IRartrer  finb  fie  toorben. 

3.  S)er  alte  geinb  [ie  fangen  liefe, 
6r[(j^rec!t  fie  lang  luit  ©rciuen, 

5)a§  SSort  (^ott§>  man  fie  leiignen  l^icfe, 
ma  B\t  and)  Wolit  fie  tauljen. 
3?om  8olt)en  bcr  (So:pl)iften  biel, 
Wit  if)rer  ^unft  berloren, 
SSerfammett  er  511  biefem  (S|)iel: 
^er  ©cift  fie  ntadjt  gu  ^^oren, 
(Sic  !onnten  nid)t§  gen^innen. 


O  Y  help  of  God  I  fain  would  tell 
■*^  A  new  and  wondrous  story, 
And  sing  a  marvel  that  befell 

To  his  great  praise  and  glory. 
At  Brussels  in  the  Netherlands 

He  hath  his  banner  lifted. 
To  show  his  w^onders  by  the  hands 

Of  two  youths,  highly  gifted 
With  rich  and  heavenly  graces. 

2.  One  of  these  youths  was  called  John, 

And  Henry  was  the  other; 
Rich  in  the  grace  of  God  was  one, 
And  Christian  true  his  brother. 
For  God's  dear  Word  they  shed  their 
blood, 
And  from  the  world  departed 
Like  bold  and  pious  sons  of  God; 
Faithful  and  hon-hearted, 

They  won  the  crown  of  martyrs. 

3.  The  old  Arch-fiend  did  them  immure, 

To  terrify  them  seeking;         [jure, 
They  bade  them  God's  dear  Word  ab- 

And  fain  w^ould  stop  their  speaking. 
From  Louvain  many  Sophists  came, 

Deep  versed  in  human  learning, 
God's    Spirit    foiled    them    at    their 

Their  pride  to  folly  turning,  [game, 
They  could  not  but  be  losers. 


25 


26 


LUTHER  S   HYMNS 


4.  (Sie  fungen  [ii^,  fie  fungcn 

faur, 
SSerfud^ten  mand^e  Ciften. 
2)ie  ^aben  ftunben  toie  ein 

2Jlaur, 
lBera(f)ten  bie  ©o)3^t[ten. 
®en  alten  getnb  ba§  fe^r  berbrofe, 
®afe  er  toar  ufiertounbcn 
S3on  fold^en  i^ungen,  er  fo 

@r  toarb  boE  3^^  ^on  ©tunben, 
©ebad^t  fie  gu  berbren* 
nen. 

5.  ®ie  raubtcn  t^n'n  ba§  ^lofterfleib, 
!Ste  2Bei^  fie  il)n'n  au(^  na^men. 
S)ie  ^aben  toaren  be§  berett, 
(Bit  fprac^en  frotjlid^  Slmen. 

©ie  ban!ten  t!^rem  35ater  (Sott, 
S)a6  fie  log  foUten  toerben 
S)e§  5teufel§  garbenf^iel  unb  (St)ott, 
S)arin  burd^  falfc^e  SBerben  (©ebcirben) 
S)ie  2BeU  er  gar  betreuget. 

6.  ®a  fd)idt§  @ott  burd^  fctn'  ©nob  alfo 
S)aJ2  fie  red)t  ^riefter  toorben: 

(Si^  felfift  t{)m  ntufeten  o))f em  ba 

Unb  ge^n  in  S^^riftenorben, 

S)er  2BeIt  gan^  a&geftorben  fein, 

®te  |)eud^elci  ablegen, 

3um  ^immel  lommen  fret  unb  rein 

S)ie  SJionc^erei  auSfegen, 

Unb  3Jlenfd^entanb  l^ie  laffen. 

7.  ^an  f(i)rteb  i^n'n  fttr  ein  S3rief(ein  Hctn, 
®a§  l^iefe  man  fie  felbft  le[en. 

2)ic  (Stiid  fie  getc^n'ten  alle  brein, 
2Ba§  it)r  ©laub  tear  getoefen. 
S)er  ^od^fte  ;^rrt{)um  biefer  toar: 
SITian  mufe  aUein  ©ott  glauben, 
®er  2Jlcnf(^  leugt  unb  treugt  tmmcrbat, 
S)em  foU  man  ntc^t§  bertrouen. 
2)c§  mufeten  fie  berbrennen. 

8.  Stvtl  grofee  geur  fie  giinb'ten 

an, 
S)ie  S?naben  fie  t)er  brac^ten. 
(S§  na'^m  grofe  SBunber  j[eberm"ann 
S)afe  fie  folcl)  ^ein  berad^'ten. 


4.  They  spake  them  fair,   they  spake 

them  foul, 
Their  sharp  devices  trying. 
Like   rocks   stood   firm   each   brave 
young  soul 
The  Sophists'  art  defjdng. 
The  enemy  waxed  fierce  in  hate, 

And  for  their  life-blood  thirsted; 
He  fumed  and  chafed  that  one  so 
great 
Should  by  two  babes  be  worsted, 
And  straightway  sought  to  burn 
them. 

5.  Their  monkish  garb  from  them  they 

And  gown  of  ordination;        [take, 
The  youths  a  cheerful  Amen  spake. 

And  showed  no  hesitation. 
They  thanked  their  God  that  by  his 

They  now  had  been  denuded     [aid 
Of  Satan's  mock  and  masquerade, 

Whereby  he  had  deluded 

The  world  with  false  pretences. 

6.  Thus  by  the  power  of  grace  they  were 

True  priests  of  God's  own  making, 
Who  offered  up  themselves  e'en  there, 

Christ's  holy  orders  taking; 
Dead  to  the  world,  they  cast  aside 

Hypocrisy's  sour  leaven, 
That  penitent  and  justified 

They  might  go  clean  to  heaven, 
And  leave  all  monkish  follies. 

7.  They  then  were  told  that  they  must 

A  note  which  was  dictated ;     [read 
They   straightway   wrote   their  fate 

And  not  one  jot  abated,  [and  creed, 
Now  mark  their  heresy!    "We  must 

In  God  be  firm  believers; 
In  mortal  men  not  put  our  trust, 

For  they  are  all  deceivers;" 
For  this  they  must  be  burned! 

8.  Two  fires  were  lit;  the  youths  were 

brought, 
But  all  were  seized  with  wonder 
To  see  them  set  the  flames  at  naught, 
And  stood  as  struck  with  thunder. 


LUTHER  S   HYMNS 


27 


2Rit  greubert  fie  fief)  ga&cit  brein, 
2)^it  @otte»  Cob  utib  (Singen ; 
S)er  2}Zut^  toarb  ben  (Sop^iften  ftein 
SSor  biefen  neuen  ©ingen, 
SaB  ft(^  ©ott  UeB  fo  merfen. 

9.  ®ci-  (Sd)impf  fie  nun  gereuet  ^ot, 
(Sie  toontcn'y  gcvn  fc^on  madden. 
(Bit  biirfn  nid)t  tubmen  fid^  ber 

5tl)at, 
®ic  fiergen  faft  bie  (Sac^en. 
S)ie  ©c^anb  im  ^er^en  fieiBCt 

fie, 
Unb  lElagen  »  i'^r'n  ©enoffcn ; 
®oc^  !ann  bet  @eift  nid^t  fc^tceigen  ^tc: 
S)e§  3lt)el»  SSlut  t)ergo[fen, 
@S  muB  ben  S^ain  melben. 

10.S)ie  2lf(^en  to  ill  nitf)t  laffen  ob, 
©ie  ftaufit  in  aEen  Canben. 
^ie  ^ilft  !ein  58ad),  Sod),  ©rub  noc^  (3xab, 
®ie  mad^t  ben  geinb  gu  ©dianben. 
®ie  er  im  Seben  buri^  ben  SJlorb 
3u  fdf)toeigen  l^at  gebrungen, 
®ie  muB  er  tobt  an  ollem  Crt 
2Jlit  aHer  ©tintm  unb  Sii^gen 
@ar  frot)li(^  laffen  fingen. 

11.9lod^  laffen  fie  i^x  Sugen  nid^t 
<^en  grofeen  9Rorb  3U  fc^miidEen. 
©ie  geben  fur  ein  fatfi^  ©ebic^t, 
Ql)r  ©'toiffen  t^ut  fie 

bruden. 
S)ie  ^eitgen  ®ott§  auc^  nac^  bem  %ob 
S8on  it)n'n  geldftert  toerben. 
<Sie  fagen,  in  ber  let^ten 

2)ie  ^naben  noc^  auf  (grben 
©id)  foU'n  l)aben  untfe^ret. 

12.®ie  lafe  man  litgen  immer  l)in, 
(5ie  l)aben  »  !einen  gronmten. 
2Bir  follen  ban!en  ®ott  bavin, 
(2 ein  SBort  ift  toieber  fommcn. 
S)er  ©ommer  ift  l)art  tor  ber  ^^i'lr, 
®er  SSinter  ift  bergangcn, 
®ie  ^arte  33liimlein  get)n 

^erfiir: 
®er  bay  l)at  angefangen, 
S)er  toirb  e§  too[)l  boltenben. 

^men. 


With  joy  they  came  in  sight  of  all, 
And  sang  aloud  God's  praises; 

The  Sophists'  courage  waxed  small 
Before  such  wondrous  traces 
Of  God's  almighty  finger. 

9.  The  scandal  they  repent,  and  would 
Right  gladly  gloss  it  over; 
They  dare  not  boast  their  deed  of 
blood, 
But  seek  the  stain  to  cover. 
They  feel  the  shame  within  their 
breast, 
And  charge  therewith  each  other; 
But  now  the  Spirit  can  not  rest, 
For  Abel  'gainst  his  brother 
Doth  cry  aloud  for  vengeance. 

10.  Their  ashes  will  not  rest ;  world-wide 

They  fly  through  every  nation. 
No  cave  nor  grave,  no  turn  nor  tide, 

Can  hide  th'  abomination. 
The  voices  which  with  cruel  hands 

They  put  to  silence  H\'ing, 
Are  heard,  though  dead,  throughout 

Their  testimony  giving,    [all  lands 
And  loud  hosannas  singing. 

11.  From  lies  to  lies  they  still  proceed. 

And  feign  forthwith  a  story 
To  color  o'er  the  murderous  deed; 
Their     conscience     pricks     them 
sorely. 
These  saints  of  God  e'en  after  death 

They  slandered,  and  asserted 
The  youths  had  with  their  latest 
breath 
Confessed  and  been  converted, 
Their  heresy  renouncing. 

12.  Then  let  them  still  go  on  and  lie. 

They  can  not  win  a  blessing; 
And  let  us  thank  God  heartily, 

His  Word  again  possessing. 
Summer  is  even  at  the  door, 

The  winter  now  has  vanished, 
The    tender   flowerets   spring   once 
more, 
And  he,  who  winter  banished. 
Will  send  a  happy  summer. 

Amen. 


28 

'T^HAT  Luther  could  not  consider  hymn-writing  at  the  beginning  of 
his  reformatory  labors  is  evident.  The  days,  following  the  nailing 
of  the  95  Theses  upon  the  doors  of  the  Castle  church  at  Wittenberg,  Oct. 
31,  1517,  during  which  he  defended  the  Gospel,  with  tongue  and  pen, 
before  the  people.  Pope  and  Emperor,  were  too  turbulent  for  the  spirit 
of  poetry.  During  the  earlier  vernal  storms  of  the  Reformation  the 
''Nightingale  of  Wittenberg,"  as  Hans  Sachs  entitled  Luther,  was  still 
hushed.  The  fountain  of  life  to  the  German  people,  the  Bible,  (especially 
the  New  Testament),  had  to  be  opened  and  presented  to  them  in  their 
own  tongue.  During  September,  1522,  the  first  issue,  thousands  of 
copies,  was  scattered,  as  by  angel  hands,  in  every  place.  The  poetic 
temper  of  Luther's  soul  reveals  itself  in  his  preface  to  the  New  Testament: 
''Gospel  means  glad  tidings;  of  this  we  joyfully  sing  and  speak.  The 
Gospel  of  God,  and  the  New  Testament,  declare,  to  all  the  world.  Him 
who  wrestled  with  and  overcame  sin,  death  and  Satan  so  that,  without 
their  merit,  He  might  justify,  quicken,  beatify  and  restore  to  God  all 
who  have  been,  captive  in  sin,  tormented  by  death  and  overpowered  by 
the  devil.  Of  this  they  joyfully  sing,  and  praise  God  with  thanksgiving." 
An  offence  was  all  that  was  needed  to  permit  the  breaking-forth  of 
"singing  and  speak^ing,"  in  Euther's  soul,  a  new  song  of  praise  to  divinje 
grace. 

The  offence  came  when  two  young  Augustinian  monks,  Henry  Voes 
and  John  Esch  of  Antwerp,  pupils  of  Henry  Mollers  of  Zuetphen,  alter 
examination  by  the  Cologne  Inquisitor,  Jacob  von  Hogstraten,  were 
condemned  to  be  burnt  at  the  stake.  This  condemnation  was  instigated 
by  some  sophist  professors  of  Louvain  who  despised  their  Evangelical 
faith.  The  burning  took  place  in  Brussels,  July  1,  1523.  On  receipt  of 
the  news  of  this  first  martyrdom  for  the  Evangelical  cause,  Luther's  soul 
was  fired,  and  he  wrote  his  spirited  narative,  ending  with  the  prophetic 
words: 

Summer  is  even  at  the  door, 

The  winter  now  hath  vanished, 

The  tender  flowerets  spring  once  more, 
And  he  who  winter  banished 
Will  send  a  happy  summer. 

It  was  springtide,  not  of  the  Protestant  Church  alone  but  also  of  the 
wonderful  growth  of  German  reHgious  poetry  which  still  lives  and  flour- 
ishes. The  original  title  of  the  hymn  was,  "A  new  song  of  the  two  mar- 
tyrs for  Christ,  burnt  at  Brussels,  by  the  Sophists  of  Louvain."  It 
made  a  profound  impression,  during  the  Reformation  era,  and  appeared  in 


D 


U 


LUTHER  S   HYMNS 


29 


many  of  the  earlier  Lutheran  hymn  books;  but,  being  rather  a  historical 
ballad  than  a  hymn,  it  has  not  appeared  in  recent  collections. 

Fliedner,  in  his  book  of  "The  Martyrs,"  says  that  while  the  fire 
blazed  at  his  feet,  Henry  Voes  exclaimed,  ''Behold,  blooming  roses  are 
strewn  around  me."  The  mart\TS  prayed,  ''Lord  Jesus,  thou  Son  of 
God,  have  mercy  upon  us."  When  the  flames  had  already  consumed 
their  bands,  they  prayed  responsively,  until  smoke  and  flame  choked 
them,  "Lord  God,  we  praise  thee." 

This  is  probably  the  only  hymn  whose  date  of  composition  is  known. 
Its  title  in  the  books  by  Walter,  1524,  Klug,  1543,  and  Babst,  1545,  bears 
the  date  1522;  historic  incidents,  however,  afford  no  occasion  for  this 
date.  It  appeared,  originally,  in  the  Enchiridion  of  Erfurt,  1524. 
Stanzas  9  and  10  were  additions  which  appeared  in  the  GeistHche  Gesang- 
buechlein  of  Wittenberg,  published  during  the  same  year.  The  melody 
in  the  Erfurt  Enchiridion  is  indicated  as  follows:  cccbaca^,  and,  ac- 
cording to  William  Schircks,  1854,  was  very  likely  Luther's  composition. 


Translations 


aus;  tiefer  J^ottj  sicfjrei  icf)  ^u  bir 

Out  of  the  depths  I  cry  to  Thee 

De  Profundis  clamavi  ad  te 

Psalm  130 
C.  U.  12 


N.  C.  U.  9 


i 


Title — A  Hymn  of  Confession 

Phrygian,  Published  by  Matthias  Greitter,  1524 

4- 


-Sh 


y  g.jg 


I — r-r 


$ 


:q: 


i 


==^? 


-s^ 


1 — ' 

mu§  tiefer  ^flofi)  ferret  id)  311  bir, 
>         t^err  ©ott !  eri)or  mein  Dhifen. 
S!em  c^mbi^  Cf)ren  fe^r  311  mir, 
'    Unb  metner  SBitt  fie  offne ; 
2)eim  fo  bu  toillt  ba^  fef)en  an, 
2Ba§  (Sattb  unb  Unrecf)t  i[t  cjet^an, 
2Ber  tann,^txx,  box  bir  bleiOen? 


-eZ. 


-^&- 


/^UT  of  the  depths  I  cry  to  Thee, 
^^Lord,  hear  me,  I  implore  Thee! 
Bend  down  Thy  gracious  ear  to  me, 

Let  my  prayer  come  before  Thee! 
If  Thou  remember  each  misdeed, 
If  each  should  have  its  rightful  meed, 

Who  may  abide  Thy  presence? 


30 


LUTHER^S  HYMNS 


2.  SBei  bit  gilt  nid)t»  benn  ©nab  unb  ®unft, 
S)ie  (Sunbe  ^u  bergeben. 

e^  ift  boc^  unfer  X^un  umfonft, 
Stud)  in  bent  beften  Ceben. 
33or  bir  niemanb  fic^  rul^men  !ann; 
2)e§  mufe  bid)  furcfiten  jeber* 

mann 
Unb  beiner  ©nabe  leben. 

3.  S)arum  auf  ©ott  toill  l)offen  id^, 
5luf  mein  S3erbtcnft  nid^t  bauen ; 
3luf  i^n  mein  ^erg  foU  laffen  [ic^, 
Unb  feiner  ©iite  trauen. 

©ie  mir  gufagt  jein  n)ertt)e§  SKort, 
S)a§  ift  mein  ^ro[t  unb  treuer  ^oxt, 
2)e§  n)ill  ic^  oUgeit  l)arren. 

4.  Unb  ob  e§  tt)dl)rt  bi§  an  bie  9^a(^t 
Unb  iDieber  an  btn  2Rorgen, 
2)ocl^  foE  mein  ^ers  an  ©otte§ 

mad^t 
SScrgtoeifeln  nic^t,  nod^  forgen. 
©0  tt)u  ;3frael  tec^ter  5lrt, 
2)er  au§  bem  ©eift  ergeuget  toaxb, 
Unb  feine§  ©ott§  erl^arre. 

5.  Cb  bei  un§  ift  ber  ©iinben 

mel: 
S3ei  ©ott  ift  biel  me^r  ©naben. 
(Sein  ^anb  5u  ^elfen  l)at  fein  3icl, 
2Bie  grofe  and)  fei  ber  ©diaben. 
dx  ift  aUein  ber  gute  ^irt, 
!I)er  <5frael  erlofen  mirb 
3lu§  fcinen  (Siinben  aUen. 

S)Of  ologie.    ©paterer  S^^^Q^  ^"  Stixd)t  bom 
3af)re  1625. 

6.  @]^r  fet  bem  SSater  unb  bem  (Sol^n 
Unb  auc^  bem  ^eilgen  ©eifte ! 
§ll§  e§  im  3tnfang  tear  unb  nun, 
®er  un§  fein  ©nabe  leifte; 
S)amit  tcir  gel^n  auf  feinem  ^fab, 
!5)afe  un§  be§  Sleufel^  Sift  nic^t  fd^ob. 
aBer  ba§  bege^rt,  fprec^ :  Slmen. 


2.  Our  pardon  is  Thy  gift;  Thy  Love 

And  grace  alone  avail  us.      [move, 
Our  works  could  ne'er  our  guilt  re- 

The  strictest  life  must  fail  us. 
That  none  may  boast  himself  of  aught, 
But   own   in   fear   Thy   grace   hath 
wrought 

What  in  him  seemeth  righteous. 

3.  And  thus  my  hope  is  in  the  Lord, 

And  not  in  mine  own  merit: 
I  rest  upon  His  faithful  word 

To  them  of  contrite  spirit. 
That  He  is  merciful  and  just, — 
Here  is  my  comfort  and  my  trust. 

His  help  I  wait  with  patience. 

4.  And  though  it  tarry  till  the  night, 

And  round  till  morning  waken, 
My  heart  shall  ne'er  naistrust  Thy 
might, 

Nor  count  itself  forsaken. 
Do  thus,  O  ye  of  Israel's  seed. 
Ye  of  the  Spirit  born  indeed, 

Wait  for  your  God's  appearing. 

5.  Though  great  our  sins  and  sore  our 

woes, 

His  grace  much  more  aboundeth; 
His  helping  love  no  limit  knows. 

Our  utmost  need  it  soundeth. 

Our  kind  and  faithful  Shepherd,  He, 

Who  shall  at  last  set  Israel  free 

From  all  their  sin  and  sorrow. 

Tr.  Catherine  Winkworth,  1862. 

DOXOLOGY 

6.  Praise  to  the  Father,  and  the  Son, 
And  Holy  Spirit  also, 

As  was  at  first  and  still  shall  be. 
He  doth  His  grace  on  us  bestow. 
Therewith  we  walk  within  His  path, 
That  Satan's  guile  us  cannot  scathe. 
Who  this  doth  crave,  saith:     Amen. 


'T^HE  Psalms,  emanating  from  the  hymn  book  of  the  Old  Testament 

Church,  the  Psalter,  are  fundamental  in  the  Lutheran  Church.     St. 

Paul  already  distinguished  between  Psalms  and  hymns  and  spiritual  songs, 

Eph.  5  :  19,  Col.  3  :  16.     As  the  New  Testament  rests  upon  the  Old 


LUTHER'S   HYMNS  3 1 

Testament,  and  the  Church  in  a  general  way  is  rooted  in  the  Temple,  so 
the  Christian  Church  used  the  Psalter  from  the  beginning  and  sang 
Psalms  according  to  the  ancient  manner  of  psalmody.  So  as  to  make 
them  more  singable,  however,  Latin  (of  the  Latin  Bible)  Psalms  were 
gradually  translated  into  hymns.  Psalm-hymns,  which,  in  the  first  Ger- 
man hymn  books,  still  alternated  with  the  prose  forms.  These  Psalm- 
hymns  afforded  a  clearer  understanding  of  the  Psalter  and  rendered  the 
Psalms  far  more  impressive.  Whoever  will  read  the  Psalms  as  found  in 
the  Psalter,  where  they  are  more  fluent,  and  will  follow  this  by  singing 
Luther's  hymns,  will  surely  acquire  a  special  blessing  thereby.  The 
Word  of  God,  so  simple  and  pure,  becomes  all  the  more  transparent  and 
valuable  by  having  passed  through  the  mould  of  a  tender,  poetic  mind. 

The  130th  Psalm  was  a  great  favorite  with  Luther;  he  called  it  a 
Pauline  Psalm,  (others  being  the  3 2d,  51st,  and  the  143d).  He  must  have 
written  his  h>Tnn  during  1523,  or  earher,  since  in  his  letter  to  Spalatin, 
during  the  opening  days  of  1524,  in  which  he  prays  him  to  assist  in  versi- 
f}ang  Psalms  for  the  people,  he  says  plainly  that  he  had  then  already 
translated  the  De  Profundis.  It  furnished  the  foundation  for  one  of  his 
most  powerful  hymns.  Through  it  he  breathes  sentiments  which  com- 
pel the  reader  to  join  him  in  prayer,  confession  and  faith. 

The  hymn  appeared  in  two  forms,  within  a  year's  time.  Although 
Frederick  Klippgen,  in  his  book  of  1912,  maintains  that  the  longer  form  of 
five  stanzas  was  wTitten  before  the  shorter  form  of  four,  the  bulk  of  the 
e\ddence  seems  to  favor  the  contrary  opinion.  Klippgen  holds  that  the 
shorter  form  was  intended  for  congregational  singing  and  w^as  therefore 
the  later  text.  He  suggests  a  logical  error  in  the  first  stanza,  asserting 
that  when  God  remembers  the  sins  of  one  man  it  does  not  necessarily 
imply  a  similar  relation  to  all  men;  and  he  points  out  that  the  rhythm  in 
the  longer  form  flows  smoother,  which  might  indicate  an  improvement. 
But  he  also  holds  that  the  longer  form  is  not  a  translation  but  rather  a 
composition  based  upon  the  Psalm,  and  that  the  hymn  harmonizes,  in  a 
large  measure,  wdth  Luther's  Commentaries  on  the  seven  Penitential 
Psalms  and  may,  therefore,  have  originated  as  early  as  1517.  This 
argues  in  favor  of  the  priority  of  the  longer  text.  Wackernagel,  Schircks, 
Kawerau,  and  others,  maintain  that  Luther  revised  the  second  stanza  of 
the  shorter  text  and  added  a  third.  A  sixth  stanza,  or  Doxology,  was 
added  in  1525. 

The  older  text  appeared  in  ''Etlich  christhch  Lieder,"  (Achtlieder- 
buch),  of  Wittenberg,  and  the  Erfurt  Enchiridion,  both  of  1524.  It  was 
adapted  to  the  tune  of  ''Es  ist  das  Heil  uns  kommen  her,"  and  is  a  com- 


32 

panion  to  the  hymns:  "Ein  neues  Lied"  and  "Nun  freut  euch."  The 
revised  and  enlarged  text  appeared  in  Walter's  book,  of  1524,  where  the 
tune  '^Aus  tiefer  Noth  schrei  ich  zxi  dir"  is  appended.  This  tune  is  a 
classic,  and  appears  in  some  books  as  the  "De  Profundis,"  and  in  others  as 
"Luther's  130th  Psalm." 

It  was  originally  designed  as  a  Funeral  Hymn.  In  the  Church  Book 
it  appears  under  the  heading  of  Repentance.  Stanza  1  expresses  senti- 
ments of  Psalm  130,  verses  1-3;  2  breathes  thoughts  of  verses  4-5;  3,  in 
the  shorter  hymn,  of  verse  4,  and,  in  the  longer  form,  of  verses  6-7 ;  and 
4,  in  the  former,  of  verse  5,  and,  in  the  latter,  of  verses  7-8.  The  hymn 
teaches  the  Christian  how  to  distinguish  between  complaint  and  consola- 
tion. It  embodies  the  foundation  upon  which  our  Protestant  Church  is 
established:  With  our  strength  nothing  can  be  done;  all  depends  upon  the 
free  grace  of  God.  God's  Word  alone  can  certify  us  of  this,  when  we  are 
conscious  of  our  sin,  as  has  been  the  experience  of  many  a  sincere  Christian. 

VT'ULPIUS  relates  an  interesting  experience,  in  the  Chronicles  of  Mag- 
deburg. On  the  6th  of  May,  1524,  an  aged  Hnen-weaver  stationed 
himself  at  the  statue  of  the  Emperor  Otto  where  he  sang  this  hymn  to  the 
assembled  multitude  and  sold  copies  of  it  to  ready  purchasers.  When 
the  Burgomaster  of  the  town,  Hans  Rubin,  returned  from  Matins,  in  St. 
John's  Church,  he  inquired  of  his  servant  what  the  crowd  yonder  signified. 
After  an  investigation  the  servant  said,  "A  wanton  villain  of  the  Lutheran 
heresy  is  singing  and  selling  hymns."  Orders  were  immediately  given  to 
apprehend  and  imprison  the  old  man.  This  created  a  great  commotion 
in  the  city;  two  hundred  men  marched  to  the  municipal  building  and, 
through  their  leader,  John  Eckstadt,  demanded  the  release  of  the  pious  old 
linen-weaver  and  that  the  Burgomaster  chastise  his  servant.  The  de- 
mand was  granted,  whereupon  the  congregations  of  St.  Ulrich  and  St. 
John's  churches  issued  the  following  statement,  "We  will  take  refuge 
alone  in  the  one  Lord  and  Bishop,  Jesus  Christ,  who  is  sanctioned  by 
divine  testimony.  He  is  our  captain  and  under  him  we  will  bravely 
fight." 

F\URING  the  Diet  of  Augsburg  Luther  spent  his  time  in  the  fortress  of 
Coburg.  Vexations  of  body  and  soul  burdened  him  repeatedly. 
Having  rallied  from  a  swoon  he  requested  that  the  Epistle  to  the  Gala- 
tians  be  read  to  him.  Then  he  called  his  friends  and  said,  "Come,  let  us 
defy  the  Devil  by  singing  'Aus  tiefer  Noth'  in  four  voices,  and  praise  and 
glorify  God." 


LUTHER'S  HYMNS  33 

npHE  beautiful  city  of  Strassburg,  the  pride  of  Germany,  was  betrayed 
by  her  Bishop,  to  the  King  of  France,  in  1681.  Before  the  entrance 
of  the  enemy  the  citizens  gathered  in  the  cathedral  to  hold  a  prayer  service 
which  was  opened  by  singing  ^'Aus  tiefer  Noth."  This  proved  to  be  the 
last  Protestant  service  in  the  Strassburg  Cathedral  since,  through  French 
rule,  the  Roman  Mass  was  re-established. 

'T^HE  hjnnn  was  sung  so  diligently  in  the  homes  of  the  people  that,  ac- 
cording to  tradition,  even  a  green-finch  learned  the  melody.  The 
bird  was  the  property  of  a  lady  who  lived  in  the  goat-pasture  section  of 
the  Erzgebirge.  When,  during  the  30  Years'  War,  soldiers  were  on  a 
plundering  expedition,  his  mistress,  about  to  flee,  hid  the  green-finch,  in 
his  cage,  under  an  old  bench  in  a  dark  place  in  the  house.  When  she 
returned,  three  days  later,  the  bird  greeted  her  by  singing  "Out  of  the 
depth  I  cry  to  thee."  He  was  promptly  lifted  from  his  humiHation  and 
given  a  good  meal. 

'T^HE  hymn  was  sung,  May  9,  1525,  at  the  funeral  of  the  Elector  Fred- 
erick The  Wise,  in  the  Court  church  in  Wittenberg;  and  by  the  weep- 
ing multitude  in  Halle  when,  Feb.  20,  1546,  Luther's  body  was  taken  to  its 
last  resting  place  in  the  Castle  church  in  Wittenberg.  The  fifth  stanza 
comforted  the  last  hours  of  Christian,  the  Elector  of  Saxony,  1591;  of 
John  George  I,  the  Elector  of  Saxony,  1656;  and  of  King  Frederick  I  of 
Prussia,  1723. 


34 


LUTHER  S  HYMNS 


Translations 


(£s{  toolU  tins;  (gott  genaebig  ^tin 

May  God  unto  us  gracious  be 

Deus  misereatur  nostri 
Psalm  67 
fC.  U.2  ^f  A  Closing  Hymn 

IN.  C.  U.  12  ^^^'^'^  (A  Missionary  H> 


Hymn 


Greitter,  Walter's  book,  1524 


•fV-<g    r?   p-s^ 


-^fi' 


<s   e^   (s. 


tizt: 


:& 


:^ 


^ 


£ 


-z:^ 


-^ z^ 


-'^     ^     ^   .^   s> 


i 


:^=^: 


^f-f-^       ^-Jr-A^f^ 


(Tj:i 


(B 


§>  tDollt  un§  ®ott  genabig  fein, 
Unb  [einen  @egen  geben, 
(Sein  5tnttt^  un§  mit  J^ellem  ©d^ein 
©rleud^t  gum  eltjgen  8e5en, 
®afe  toir  erfennen  feinc  SKerf, 
Unb  toa§  i^m  IkU  auf  ©rben, 
Unb  9efu§  S^riftuS,  ^eil  unb  ©tdr!, 
f&ttannt  ben  §eiben  h^erben 
Unb  fie  gu  @ott  6e!e]^ren. 

2.  (5o  ban!en,  @ott,  unb  loljen  btd^ 
2)ie  ^eiben  liBerdle, 

Unb  alle  2Belt  bie  freue  fid^, 
Unb  ftng  mit  grofeem  (Sd^altc, 
S)ai3  bu  auf  (Srben  9flt(^ter  bift 
Unb  (afet  bie  ©unb  ni($t  toalten, 
S)ein  2Bott  bie  §ut  unb  SBcibe  ift, 
S)ie  alte§  S5olf  er^atten, 
;Sn  redjter  33af)n  gu  tralten. 

3.  (5§  ban!e,  ®ott,  unb  lobe  bid^ 
2)a§  SSol!  in  guten  Slliaten. 

^a§  Sanb  bringt  grudjt  unb  bcffert  fid^, 
©ein  SKort  ift  h:)ol)(  geratljcn. 
Un§  fegne  S3ater  unb  bcr  (Sot)n, 
Un§  fegne  ®ott  ber  l^cilge  ©cift, 
S)em  die  3»elt  bie  ©^re  tl)u, 
33ot  il)m  fid^  fiird)te  allermeift. 
SRun  f^rec^t  bon  ^etgen :  Slmen. 


M 


AY  God  unto  us  gracious  be, 

And  grant  to  us  his  blessing; 
Lord,  show  thy  face  to  us,  through 

Eternal  Hfe  possessing:  [thee 

That  all  thy  work  and  will,  O  God, 

To  us  may  be  revealed, 
And  Christ's  salvation  spread  abroad 

To  heathen  lands  unsealed, 
And  unto  God  convert  them. 


Thine  over  all  shall  be  the  praise 

And  thanks  of  every  nation, 
And  all  the  world  with  joy  shall  raise 

The  voice  of  exultation. 
For  thou  the  sceptre,  Lord,  dost  wield 

Sin  to  thyself  subjecting; 
Thy  Word,  thy  people's  pasture-field, 

And  fence  their  feet  protecting, 
Them  in  the  way  preserveth. 

Thy  fold,  O  God,  shall  bring  to  thee 

The  praise  of  holy  living; 
Thy  word  shall  richly  fruitful  be, 

And  earth  shall  yield  thanksgiving. 
Bless  us,  O  Father!  bless,  O  Son! 

Grant,  Holy  Ghost,  thy  blessing! 
Thee  earth  shall  honor — thee  alone, 

Thy  fear  all  souls  possessing. 
Now  let  our  hearts  say,  Amen. 

Tr.  a.  Russell. 


LUTHER  S  HYMNS  35 

T^HIS  is  the  ancient  Psalm,  unaugmented  and  unaltered,  versified  as  a 
New  Testament  missionary  hymn.  A  glance  upon  the  broad  fields 
of  nations,  ripe  unto  the  harvest,  inspired  David  to  write  this  Psalm  in 
w^hich  the  prayer  ascends  that  God  may  give  his  Word  free  course,  and 
grant  it  an  abundant  return. 

Its  form  and  contents  are  alike  full  of  marrow,  so  that,  in  wealth 
of  thought  and  sentiment,  it  is  excelled  only  by  ^'Ein  feste  Burg." 

It  is  found  in  ''Weise,  christliche  Mess  zu  halten,"  the  manner  of 
celebrating  the  Christian  Mass,  by  Luther,  Wittenberg,  1524,  and  it 
appeared  in  the  Erfurt  Enchiridion  of  the  same  year. 

It  was  sung  and  sold,  with  other  hymns  of  that  period  (among  them 
^'Aus  tiefer  Noth"),  in  the  streets  of  Magdeburg,  by  an  aged  linen-weaver, 
on  the  6th  of  May,  1524.  For  a  long  time  these  hymns  were  known  as 
the  Magdeburg  Reformation  Hymns. 

The  Strassburg  Asaph,  Matthias  Greitter,  composed  the  melody  to  it 
which  was  published  in  Walter's  book  of  1524,  and  was  adapted,  later,  to 
"Christ,  unser  Herr,  zum  Jordan  kam." 

Stanza  1  pleads  for  the  revelation  of  divine  grace  and  the  message  of 
salvation  in  every  land;  2  describes  the  delights  of  nations  freed  from  sin 
and  pastured  upon  the  Word  of  Life ;  and  3  praises  God  for  many  blessings 
which  come  with  the  success  of  the  Gospel. 

£)UKE  HENRY  of  Wolfenbuettel,  one  of  Luther's  bitterest  foes,  al- 
lowed some  Protestant  hymns  to  be  sung  in  the  court  chapel.  A 
priest  admonished  him  not  to  tolerate  such  hymns,  even  if  the  people 
dehght  to  sing  them.  The  Duke  asked,  "What  hymns?"  The  priest 
said,  "Most  gracious  sir,  such  as  *May  God  to  us  gracious  be.'  "  The 
Duke  interrupted  him  and  said,  "Ah,  shall  the  Devil  be  gracious  to  us? 
who  shall  be  gracious  if  not  God?"     The  priest  could  say  no  more. 

'T^HE  hymn  was   appropriately  sung  by  Christian  F.  Schwartz,  at  the 
opening  of  the  mission  church  in  Trichinopoli,  in  Southern  India, 
July  11,  1792. 

QUSTAVUS  ADOLPHUS  and  his  hosts  sang  it,  together  with  other 
hymns,  before  the  battle  of  Luetzen,  Nov.  6,  1632. 


36 


LUTHER  S  HYMNS 


Translations 


y 


Matt  <@Qtt  nictit  mtt  uM  bteie^e  Zeit 
Had  God  not  come  may  Israel  say 

Nisi  quia  Dominus 
Psalm  124 

In  C  U  4  Title— The  Word  of  God,  and  the  Church 

Greitter,  Walter's  book,  1524 


t=t 


fe 


C  •!  ji  4 


-s^- 


i^ 


-f^— g^ 


M. 


3: 


■^=^- 


-zJ- 


m 


ift 


-25^- 


^: 


■< — • — d- 


Z2Z 


^|ir\dr  ®ott  nid)t  mit  un§  biefe  3eit<. 

^^''^  (So  foU  ^frael  fagen, 
2Bar  ®ott  nicfit  mtt  im§  biefe  3eit, 
SSir  ptten  mu§at  bergagen, 
55)ie  fo  ein  arme§  §auftetn  jtnb, 
SSerad^t't  bon  fo  biel  9Jlenf(^enfinb, 
®ie  on  un§  fe^en  alle. 

2.  5luf  un§  fo  gomig  ift  i^r  ©inn; 
SBo  ©ott  ^att'  bag  guge^en, 
SSerfc^Iungen  i^atten  fie  un§  l^in, 
SD^it  gangem  8ei£)  unb  CeSen ; 
2Bir  todrn  al§  bie  ein  glut^  erfauft, 
Unb  iiber  bie  grofe  SBaffer  Iduft, 
Unb  mit  @en)alt  b erf d^n? emmet. 

3.  ©ott  8ob  unb  ®anf,  ber  ntd^tgugab, 
S)afe  t^r  (Sc^Iunb  un§  moc^t  fangen; 
2Bie  ein  S3ogel  be§  (Btcid§>  fommt  ab, 
;Sft  unfer  (Seel  entgangen, 

©trie!  ift  enta^ei,  unb  n)ir  fxnb  fret, 
®e§  ^erren  9^ame  ftelfit  uu§  bet, 
S)e§  ®ott§  ^immeB  unb  ©rben. 


H 


AD  God  not  come,  may  Israel  say, 
Had  God  not  come  to  aid  us, 
Our  enemies  on  that  sad  day 

Would  surely  have  dismayed  us; 
A  remnant  now,  and  handful  small, 
Held  in  contempt  and  scorn  by  all 
Who  cruelly  oppress  us. 

2.  Their  furious  wrath,  did  God  permit. 

Would  surely  have  consumed  us, 
And  in  the  deep  and  yawning  pit 

With  hfe  and  limb  entombed  us; 
I  jke  men  o'er  whom  dark  waters  roll, 
The  streams  had  gone  e'en  o'er  our  soul, 

And  mightily  o'erwhelmed  us. 

3.  Thanks  be  to  God,  who  from  the  pit 

Snatched  us,  when  it  was  gaping; 
Our  souls,  like  birds  that  break  the 

To  the  blue  skies  escaping;     [net, 
The  snare  is  broken — we  are  free! 
The  Lord  our  helper  praised  be. 

The  God  of  earth  and  heaven. 


"rjOD'S  deliverance  in  time  of  need"  is  the  theme  of  the  124th  Psalm 
upon  which  Luther  based  his  hymn.  It  is  a  hymn  of  the  Christian 
Church  and,  from  the  beginning,  gained  a  popularity  which  continued  to 
grow  after  Luther's  death.  It  is  a  testimony  of  the  inner  life  and  con- 
science of  its  author. 


LUTHER^S  HYMNS  37 

It  appeared  first  in  the  book  of  Spiritual  H3mins  by  John  Walter, 
Wittenberg,  1524;  and  its  melody  emanated,  most  likely,  from  the  pen  of 
Matthias  Greitter.  Luther  included  it  among  his  revised  hymns  pub- 
lished in  Wittenberg,  1531. 

Stanza  1  pictures  the  divine  blessing  under  which  the  people  of  God 
move;  2  looks  back  upon  the  procession  of  Israel  from  Egypt,  the  pursuit 
of  Pharaoh,  the  barriers  of  the  sea  and  mountains  and  beholds  certain 
death,  but  God  defended  them  from  harm;  and  3  expresses  gratitude  to 
the  divine  Benefactor  and  finds  comfort  in  his  care. 

IMMEDIATELY  after  the  death  of  Luther,  the  Emperor,  Charles  V, 
involved  the  Protestant  states  in  war.  In  April,  1547,  he  opened  fire 
upon  the  Elector,  John  Frederick  of  Saxony,  at  Muehlberg.  The 
superior  forces  of  the  Spaniards  gained  the  supremacy  and  the  Elector 
was  captured.  The  enraged  Emperor  condemned  him  to  death  and  was 
prevented  from  accomplishing  his  purpose,  only  by  political  pressure. 
The  Elector,  however,  was  imprisoned  for  a  long  time.  On  the  eve  of  his 
confinement  the  Pastor  of  Saalfeld,  Casper  Aquila,  visited  him,  and  en- 
deavored to  comfort  and  encourage  him  by  directing  his  attention  to 
Daniel,  Joiakim  and  St.  Peter,  whose  release  was  miraculous  and  came 
in  due  time.  When,  at  last,  the  Emperor  was  compelled  to  release  him, 
May  12,  1552,  he  sang  with  grateful  heart  this  beautiful  hymn. 

J)URING  the  siege  of  Magdeburg  by  Tilly,  in  1631,  Christopher 
Thodaenus,  Pastor  of  St.  Catharine  Church,  at  his  regular  Tuesday 
evening  services,  comforted  the  citizens  of  the  town  by  singing  'Waer 
Gott  nicht  mit  uns."  At  the  close  of  the  last  sermon,  of  a  series  on  this 
hymn,  on  Tuesday  following  Cantate  Sunday,  May  10,  1631,  the  terrors 
of  destruction  broke  loose  upon  the  unhappy  city.  Immediately  upon 
his  reaching  home  Thodaenus  was  summoned  to  minister  to  a  fallen 
officer  of  the  guard.  With  his  vestments  still  upon  him  he  hastened  to  the 
side  of  the  wounded  man.  His  wife  soon  followed  him,  forced  her  way 
through  the  crowd,  and  drew  him  into  a  private  apartment  of  the  house. 
But  the  plunderers  found  them  and  violently  relieved  them  of  all  their 
valuables.  A  soldier  struck  him  on  the  head  with  a  sword  saying,  "Dom- 
inie, give  me  money."  On  their  way  home,  Pastor  and  Mrs.  Thodaenus 
were  rescued  from  the  hands  of  their  tormentors,  and  the  former  recovered 
strength  in  the  home  of  a  friend.  As  soon  as  he  was  able  to  render  service 
he  was  transferred  to  Rendsburg  where  he  preached  his  first  sermon,  on 
the  7th  Sunday  after  Trinity,  1631,    ''Waer  Gott  nicht  mit  uns"  was  the 


38 


LUTHER  S  HYMNS 


theme  of  his  revived  ministry  and  of  the  song  of  joy  and  thanksgiving 
for  himself  and  his  people. 

npHE  kingdom  of  Asante,  whose  chief  city  is  Kumase,  lies  on  the  west 
coast  of  Africa.  These  people  are  so  far  beneath  the  semblance  of 
civilization  that  the  torture  and  murder  of  slaves  and  prisoners  is  to  them 
a  daily  pleasure.  In  1869  King  Karakari  made  an  expedition  across  the 
river  Wolta,  destroyed  the  German  mission  station  and  imprisoned  the 
missionaries.  The  missionaries  Kuhne,  and  Ramsayer  and  his  wife,  lay 
in  a  Kumase  prison  for  four  years.  Under  constant  threats  of  death,  and 
being  forced  eye-witnesses  of  their  heathen  abominations,  these  servants 
of  God  repeatedly  sighed,  ''O  Lord,  how  long?"  Finally  an  army  of 
British  soldiers,  under  general  Wolseley  marched  against  Karakari,  Feb. 
3,  1874,  and  secured  the  release  of  the  missionaries.  When  they  were 
brought  to  the  English  camp,  they  exclaimed: 

The  snare  is  broken — we  are  free! 
The  Lord,  our  helper,  praised  be, 
The  God  of  earth  and  heaven. 


Translations,  6 


afflo{)l  bem  ber  in  (Sottes;  Jfutcfjt  sJteftt 

Happy  the  man  who  feareth  God 

Beati  omnes  qui  timent  Dominum 
Psalm  128 

Title — Home  and  Family 


i 


John  Walter's  book,  1525 
\ \ 1 . ^ 


-7^- 


-&-—^r 


"^==—6^ — Z^ 


i 


1=q: 


I 


t=1: 


-(2 9-(Z- 


-T^- 


■^H* 


-«-^- 


-^•-# 


-#    e)     -H — ^'^=S~-i& — -g^ 


t=t 


«=4 


zsz 


t-t- 

APPY  the  man  who  feareth  God, 
Whose  feet  his  holy  ways  have  trod; 

Thine  own  good  hand  shall  nourish 
thee, 

And  well  and  happy  shalt  thou  be. 

2.  Thy  wife  shall,  like  a  fruitful  vine. 
Fill  all  thy  house  with  clusters  fine; 
Thy  children  all  be  fresh  and  sound, 
Like  oUve-plants  thy  table  round. 


iJ||^ot)l  bem,  ber  in  @otte§  gurd^t  fte^t, 
^^  Unb  au(^  auf  feinem  SKege  ge^t  I 
2)ein  eigen  ^anb  bicf)  nal)ren 

(So  leb[t  bu  redit  unb  gel)t  bit  mo^l. 

2.  ®ein  2Bei6  mirb  in  bein'm  ^au[e  fein 
2Bie  ein  9teben  boU  St^rauften  fein. 
Unb  bcine  £inber  urn  ben  %X\6) 
2Bie  £)4)flanaen  ge[unb  unb  fri[(^. 


H 


LUTHER  S   HYMNS 


39 


3.  ©ie^  fo  xcid)  ©egen  l^angt  bcm  an 
2Bo  in  @otteBfurdf)t  itbt  tin  ?Jlann; 
iBon  i^m  Idt^t  ber  ait  giud)  imb  gorn, 
2)en  2Jlen[ci)enfuibern  angetiorn. 

4.  ^u§  gion  @ott  h)irb  fegnen  btc^ 
!I)aQ  tu  totvft  fc^auen  ftetigltc^ 
2)a§  @lii(f  ber  (Stabt  ;Scrufalem 
SSor  QJottin  ©naben  angenei^m. 

5.  griften  toirb  er  ba^  Cefien  bein 
Unb  mit  @iite  ftet^  M  bix 

[ein; 
S)aB  bu  toirft  fei^en  ^inbesfinb 
Unb  baB  ^I'rael  griebe  finbt 


3.  Lo!  to  the  man  these  blessings  cleave 
Who  in  God's  holy  fear  doth  live; 
From  him  the  ancient  curse  hath  fled 
By  Adam's  race  inherited. 

4.  Out  of  Mount  Zion  God  shall  send, 
And  crown  with  joy  thy  latter  end; 
That  thou  Jerusalem  mayst  see, 

In  favor  and  prosperity. 

5.  He  shall  be  with  thee  in  thy  ways, 
And  give  thee  health  and  length  of 

days; 
Yea,   thou  shalt   children's  children 
And  peace  on  Israel  shall  be.    [  see, 


"REING  a  description  of  a  pious  household,  it  was  sung,  repeatedly,  at 
weddings.  It  appeared  first  in  the  Erfurt  Enchiridion  of  1524. 
The  fathers  of  hymnology  have  left  us  nothing  of  importance  con- 
cerning the  hymn.  Its  first  melody  was  published  in  1525,  and  a  second, 
known  also  as  ''Wo  Gott  zum  Haus  nicht  giebt  sein  Gunst,"  seems  to 
come  from  1537,  (Schircks  says  1535),  and  appeared  again  in  Walter's 
book  of  1544. 

Stanza  1  points  to  God's  blessing  as  a  reward  to  him  who  values  his 
redemption  to  the  extent  that  he  constantly  feels  constrained  to  walk  in 
the  way  of  his  Lord;  2  indicates  additional  blessings  that  crown  him  on 
whom  his  wife  may  lean  with  confidence  and  affection,  after  the  simili- 
tude of  a  fruitful  vine  that  needs  the  support  of  a  treUis ;  3  extols  the  honor 
and  grace  of  a  good  man.  His  wife  and  children  are  not  trailed  on  the 
ground,  in  humility  and  shame,  due  to  a  dehnquent  head  of  the  home,  but 
even  the  ancient  curse  must  fall ;  4  points  to  the  source  of  all  good :  From 
God,  through  Christ,  the  Chief  Corner  Stone  of  his  Church,  flows  the 
stream  of  richest  blessings  into  every  receptive  heart  and  home;  and  5 
sets  forth,  and  assures,  the  desire  of  every  living  and  believing  soul: 
Life  and  eternal  peace. 


40 


Luther's  hymns 


€m  f esfte  JSurg  isJt  uMtv  (gott 

A  mighty  fortress  is  our  God 

Deus  refugium  noster  et  virtus 
Psalm  46 


Translations 


fC.  U.  18 
In.  C.  U. 


45 


Title — Heroic  Song  of  Luther 

Martin  Luther 


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A   MIGHTY  Fortress  is  our  God, 
■^^  A  trusty  Shield  and  Weapon; 
He  helps  us  free  from  every  need 
That  hath  us  now  o'ertaken. 
The  old  bitter  foe 
Means  us  deadly  woe; 
Deep  guile  and  great  might 
Are  his  dread  arms  in  fight: 
On  earth  is  not  his  equal. 

2.  With  might  of  ours  can  naught  be 

Soon  were  our  loss  effected;  [done, 
But  for  us  fights  the  Valiant  One 
Whom  God  Himself  elected. 
Ask  ye,  Who  is  this? 

Jesus  Christ  it  is, 

Of  Sabaoth  Lord, 

And  there's  none  other  God; 
He  holds  the  field  for  ever. 

3.  Though  devils  all  the  world  should  fill, 

All  watching  to  devour  us. 
We  tremble  not,  we  fear  no  ill, 

They  cannot  overpower  us. 
This  world's  prince  may  still 
Scowl  fierce  as  he  will; 
He  can  harm  us  none: 
He's  judged,  the  deed  is  done. 

One  Httle  word  o'erthrows  him. 


® 


in  fefte  S3urg  ift  unfer  ®ott, 
@in  gute  SBebr  unb  SBaffen. 
©r  l^ilft  un§  fret  au§  aUet  '^q% 
©ie  un§  \t^i  ^at  fietroffen. 
2)er  alt  fi5[e  gcinb 
Sm,  ©rnft  er§  Jc^t  meint, 
©rofe  ma6)i  unb  btel  Sift 
©ein  graufam  9fluftung  ift, 
^uf  Grb  ift  nt^t  fetnS  ©letc^en. 


2.  ma  unfrer  SJJod^t  iftnt(^t§  get^an, 
SKtr  finb  gar  6alb  berloren: 

(5g  ftrett't  fixr  un§  ber  recite  Wlaxm, 

%tn  ®ott  ^at  fel6ft  er!oren. 

gragftbu,  tnerberift? 

(Sr  ^eift  Sefu§  G^rift, 

^er  ^err  3etiaoti}, 

Unb  ift  !etn  anbrcr  ®ott, 

2)a§  getb  muB  er  be^alten. 

3.  Unb  roenn  bie  Belt  boll  Steufel  tcttt, 
Unb  hDoIlt  un§  gar  t)crf(^lingen, 
(So  furc^ten  U)tr  un§  nic^t  fo  fel^r, 
(5§  foil  un§  bod)  gelingen. 

2)er  giirft  btefer  SBclt, 
SESie  fauer  er  fic^  ftellt, 
St^ut  er  un§  bo(f)  ni(^t, 
S)a^  mac^t  er  ift  gertd)t't. 
©in  SOSortlein  !ann  \[)\\  foUen. 


Luther's  hymns  41 

4.  T)a§  moxt  fie  fonen  loffcn  fta^n,  4.  The  Word  they  still  shall  let  remain, 

Un5  !ein  ®anf  bagu  l)a£ien.  And  not  a  thank  have  for  it ; 

er  ift  Oei  un§  tt)ot  auf  bem  ^lon  He's  by  our  side  upon  the  plain 

mit  fetnem  ®ei[t  unb  ©aben.  With  His  good  gifts  and  Spirit. 

9?e{)men  fie  ben  Ceib,  Take  they  then  our  hfe, 

®ut,  (5I)r,  ^nb  unb  SSeia,  Goods,  fame,  child,  and  wife, 

Caij  f afiren  bal)in.  When  their  worst  is  done, 

©le  ]^a£ien§  fcin  ©etoinn,  They  yet  have  nothing  won : 

S)a§  «Reid^  mu§  un§  bod)  bleifeen.  The  Kingdom  ours  remaineth. 

Tr.  Composite,  1866. 

'T^HE  tone  of  this  h^Tiin  seems  closely  related  to  the  sentiments  of  ^'Ein 
neues  Lied."  The  difference  in  the  construction  of  the  stanzas,  so 
nearly  in  harmony  in  other  respects,  corresponds  in  a  thoroughly  charac- 
teristic manner  with  the  diversity  of  the  hymns:  Narrative  in  one  in- 
stance and  song  of  praise  in  the  other.  The  two  can  not  be  very  far  apart 
chronologically.  All  efforts  to  place  it  during  the  time  when  Luther 
labored  on  the  Bible  have  failed.  Its  return  to  the  Vulgate  is  no  assur- 
ance of  its  chronology.  His  letter  to  the  princes  of  Saxony,  1524,  pre- 
supposes it.  He  wrote,  *'I  stood  in  Worms,  before  the  Emperor  and  the 
whole  empire,  although  I  knew  that  the  promise  of  a  safe  conduct  had 
been  broken,  and  fierce  hatred  and  deceit  were  directed  against  me. 
Poor  and  frail  as  I  was,  my  heart  was  so  resolved  that  had  I  known  that 
as  many  devils  aimed  at  me  as  there  were  tiles  upon  the  houses,  in  Worms, 
I  would  have  entered,  even  though  I  had  not  heard  the  voice  of  God, 
nor  received  divine  talents  and  works,  nor  the  eternal  Spirit.  We, 
indeed,  avail  nothing  beyond  w^hat  Christ  bestows  upon  us.  If  he  for- 
sakes us  a  rustling  leaf  frightens  us.  However  they  may  enjoy  and  use 
our  defeats,  take  our  wives,  and  transmit  pontifical  decrees  for  which 
they  have  not  striven,  nor  spent  their  life-blood,  they  yet  have  nothing 
won.  I  was  compelled  to  secure  present  attainments  at  the  peril  of 
life  and  Kmb."  The  similarity  between  the  two  is  apparent  also  in  their 
phraseology. 

Linke  thinks  the  hymn  is  the  result  of  a  year's  preparation,  emanating 
from  a  series  of  impulses.  He,  therefore,  affixes  1525  as  its  date.  This 
opinion  shows,  however,  that  he  did  not  understand  the  manner  of 
Luther's  labors.  A  powerful  frame  of  mind  fills  the  author  and  constrains 
his  soul  to  speak.  ^'The  intonations  found  in  Luther's  works,"  says 
Frederick  Klippgen,  Halle,  1912,  "are  apparently  simply  echoes."  He 
suggests  thab  the  hymn,  ''Ein  feste  Burg,"  did  not  appear  beside  the 
martyr-hymn,  ''Ein  neues  Lied,"  in  Walter's  book  (Chorgesangbuch)  of 
1524,  because  it  was  deemed  too  personal;  that  Luther  did  not  desire  to 


42 

publish  both  hymns  at  the  same  time  since,  in  the  final  analysis,  both 
gave  expression  to  the  same  frame  of  mind.  It  was  his  cordial  desire  to 
erect  a  monument  to  the  fearless  faith  of  the  two  young  men  whom  he 
held  up  as  examples. 

An  endless  mass  of  Hterature  has  been  produced  on  this  h}Tnn.  Va- 
rious authorities  have  dated  it  anywhere  from  1521  to  1530.  Weighty 
opinions  insist  upon  1527.  Schneider  points  to  the  letter  of  Nov.  1,  1527, 
addressed  to  Amsdorf,  in  which  striking  resemblances  to  the  hymn  are 
found.  He  claims  it  appeared  on  the  day  of  the  10th  anniversary  of  the 
nailing  up  of  the  95  theses.  Koestlin,  Kolde,  and  others,  agreed  with  this 
opinion,  after  it  had  been  further  supported  by  Knaake.  Kuchenmeister 
points  to  the  martyrdom  of  Leonard  Kaiser  as  its  occasion.  In  Luther's 
writings  concerning  the  tragedy  which  occurred  in  Schaerding,  Aug.  16, 
1527,  strong  resemblances  to  the  hymn  are  found,  and  yet  none  are  con- 
clusive. Instead  of  intonations  to  the  hymn  they  are,  rather,  echoes. 
If  Kaiser's  martydrom  had  furnished  the  motive  for  it  Luther  would  have 
found  words  more  exactly  appropriate  to  the  deed.  Nor  can  it  be  a  10th 
anniversary  h3niin  of  the  naihng  up  of  the  95  Theses  since  it  lacks  the 
character  of  a  festival  poem. 

There  is  a  tradition  that  it  was  pubKshed  in  a  hymn-book,  in  Witten- 
berg, 1528,  and  was  composed  during  Nov.,  1527,  or  the  time  of  the  pesti- 
lence in  that  city,  and  even  in  Luther's  own  house.  The  sentiments  of 
the  hymn,  however,  point  to  a  far  worse  enemy  than  sickness.  Others 
claim  it  appeared  during  the  Diet  of  Spires  when  on  April  19,  1529,  five 
Evangelical  princes,  and  the  representatives  of  14  cities,  formally  pro- 
tested against  the  recall  of  the  concessions  made  in  the  former  Diet  of 
Spires,  1526,  and  against  the  execution  of  the  edict  of  Worms.  From 
this  date  Evangelical  Christians  are  called  Protestants.  Still  others  claim 
the  hymn  was  composed  during  the  time  of  the  Diet  of  Augsburg,  1530. 
D'Aubigne  says,  ''Luther,  full  of  faith,  revived  the  courage  of  his  friends 
by  composing,  and  singing  with  his  fine  voice,  that  beautiful  hymn,  since 
become  so  famous,  'Ein  feste  Burg  ist  unser  Gott.'  Never  did  soul  that 
knew  its  own  v/eakness,  and  yet,  looking  to  God  and  despising  every  fear, 
find  such  noble  accents.  The  hymn  was  sung  during  the  Diet,  not  only 
in  Augsburg,  but  in  all  the  churches  of  Saxony;  and  its  energetic  strains 
often  revived  and  inspired  the  most  dejected  heart." 

Klippgen,  however,  dates  the  hymn  during  the  Diet  of  Worms,  1521. 
Luther's  letters  of  this  period  bear  striking  resemblances  to  it.  His 
combativeness  against  the  Devil  is  especially  characteristic.  When  he 
preached  in  Weimar  the  galleries  of  the  over-crowded  church  creaked,  to 


Luther's  hymns  43 

which  Luther  referred  as  a  threat  of  the  Devil.  On  his  way  to  Worms 
the  masses  hastened  together  and  paid  him  homage,  as  to  some  holy  one. 
He,  however,  deemed  himself  in  no  way  superior  to  his  followers  whose 
enthusiasm  spurred  him  on  in  his  dangerous  way,  though  the  same  ban 
threatened  them.  He  could  well  say,  at  this  time:  ''Take  they  then  our 
life,  goods,  fame,  child  and  wife;  when  their  worst  is  done,  they  yet  have 
nothing  won." 

Sleiden  associates  it  with  no  special  event;  he  simply  remarks  that, 
after  the  Diet  of  Augsburg,  it  was  recommended  for  insertion  into  many 
hymn  books.  Chytraeus  reports,  in  the  "Chronicon  Saxoniae,"  simply 
the  fact  of  its  pubKcation,  but  was  of  the  opinion  that  it  appeared  during 
the  Diet  of  Augsburg.  Pauh  who,  from  a  scientific  standpoint,  was  the 
most  noted  witness,  and  Seidel  mention  1521  as  the  year  of  its  origin. 
Saxe  claims  1524.  He  seems  to  follow  Latin  sources.  Latin  beginnings 
often  serve  as  titles  to  Luther's  h3anns,  and  thus  it  is  probable  that  Saxe 
translated  this  Latin  beginning  of  the  Psalm  through  the  first  Hne  of  his 
hymn.  At  all  events,  he  says  distinctly  that  he  means  a  Psalm  and  not  a 
Psalm-hymn. 

"The  melody,"  which  is  undoubtedly  Luther's  composition,  says  the 
noted  authority  on  Church  Music,  Winterfeld,  "is  a  work  of  the  noblest 
inspiration,  the  boldest  and  most  rehant  assurance  which  is  also  the  temper 
of  the  hymn  with  whose  lines  it  is  so  intwined  that  the  one  could  not  have 
originated  without  the  other."  This  would  seem  to  argue  for  1529  as  the 
probable  date  of  the  hymn;  but  Buchwald  and  his  co-laborers  on  Luther's 
Works  have  discovered  that  both  the  hymn  and  its  majestic  melody  ap- 
peared in  a  Wittenberg  hymn-book,  pubhshed  in  1528,  and  conclude  that 
they  were  written  during  November  of  1527. 

It  is  evident  that  no  one  can  set  its  date  with  a  mathematical  pre- 
cision; but  it  is  enough  to  know  and  feel  the  powerful  worth  of  both  the 
hymn  and  its  tune.  From  the  beginning,  it  has  been  the  subject  of  special 
study,  by  musical  authorities,  and,  by  them,  wrought  into  many  noble 
compositions.  Seth  Calvisius,  1600,  holds  this  melody  pre-eminent 
among  a  number  of  pleasing  airs,  based  on  the  46th  Psalm :  "It  is  the  work 
and  directorship  of  the  Holy  Ghost."  Sebastian  Bach  developed  it  into 
a  beautiful  cantata,  in  about  1717;  the  Jewish  composer,  Meyerbeer,  wove 
it  into  his  masterpiece,  "The  Huguenots";  Mendelssohn  gave  it  expression 
in  his  "Reformation  Symphony";  Raff  and  Nicolai  in  overtures;  and 
Wagner  in  his  "Kaisermarsch." 

Stanza  1  presents  to  the  man  of  faith  his  mighty  fortress,  and  his 
assailant,  God  and  Satan,  the  might  of  heaven  for  the  Church,  and  the 


44  Luther's  hymns 

cunning  assault  made  upon  her.  The  "Need"  is  suggested  by  such  facts 
as  that  Luther  and  his  adherents  had  been  placed  under  the  ban,  50,000 
persons  were  executed  in  the  Netherlands,  the  Emperor  signed  an  agree- 
ment with  the  Pope  to  force  the  Lutherans  into  subjection,  and  the 
Elector,  John,  was  threatened  by  the  Emperor  that,  if  he  would  not  desist 
from  Lutheran  teachings,  he  would  spare  neither  life  nor  limb,  wife  nor 
child.  "Old  bitter  foe"  suggests  a  parallel  in  Rev.  12  : 9.  "Deep  guile 
and  great  might"  reflects  Psalm  2  :  2.  Stanza  2  shows  we  are  nothing, 
but  our  confederate  is  all-in-all;  he  is  Jesus  Christ,  our  confidence,  the 
Mighty  God.  In  a  letter  to  the  princes,  Luther  says,  "No  sword  can  or 
shall  give  counsel  or  help  in  this  matter;  God  must  do  all,  without  human 
aid."  "Of  Sabaoth  Lord"  finds  expression  in  Phil.  2  :  10,  11.  Stanza  3 
says  there  is  no  need  of  fear,  the  prince  of  this  world  is  judged,  and  van- 
quished, by  the  slightest  word.  "He's  judged"  has  a  reference  in  St. 
John  16  :  7-11  and  "One  little  word"  in  St.  Matt.  4  :  10,  11.  Stanza  4 
offers  reasons  for  great  courage.  That  which  abides  is  superior  to  that 
which  is  destined  to  perish;  the  Lord  and  his  kingdom  remain  forever. 
"Good  gifts"  are  the  gracious  call  of  the  Word,  its  enlightenment,  faith, 
quickening  and  renewing  strength,  divine  consolations,  encouragement 
and  help. 

TN  the  Diet  of  Spires,  1529,  the  Emperor,  through  his  messengers, 
charged  the  EvangeKcal  party  with  deceit,  and  commanded  them  to 
return  to  the  Roman  fold.  Five  princes  and  fourteen  imperial  states 
entered  a  formal  protest  in  which  they  insisted  that  the  Imperial^  Recess, 
unanimously  agreed  upon,  at  the  first  Diet  of  Spires  in  1526,  could  be 
altered  only  by  unanimous  consent  of  the  states;  and,  they  declared, 
"That  even  apart  from  that,  in  matters  relating  to  the  honor  of  God  and 
the  salvation  of  souls,  every  man  must  stand  alone  before  his  God,  and 
give  account  of  himself."  Ferdinand,  the  Emperor's  brother  and  repre- 
sentative, refused  to  grant  their  right  of  opposition  and  threatened  to 
punish  the  Evangelical  party.  They,  however,  concluded  a  secret  agree- 
ment which  became  the  strong  bond  of  the  Evangelical  Alliance.  Me- 
lanchthon  left  the  Diet  thoroughly  disheartened,  but  Luther  made  light 
of  its  unfavorable  conclusions  and  encouraged  his  friends  to  join  him  in 
singing: 

The  old  bitter  foe 

Means  us  deadly  woe; 

Deep  guile  and  great  might 

Are  his  dread  arms  in  fight: 
On  earth  is  not  his  equal. 


Luther  as  Preacher. 

Designed  by  Gustav  Koenig. 


45 

With  might  of  ours  can  naught  be  done, 

*  *     * 

But  for  us  fights  the  VaHant  One 

*  *     * 

Jesus  Christ  it  is. 

The  might  and  majesty  of  both  h^inn  and  tune  gave  daily  force  and 
courage  to  the  Evangelical  Party  which,  by  persistent  efforts,  won  their 
great  cause. 

TN  May,  1530,  the  Elector,  John  Frederick  of  Saxony,  went  to  Augsburg 
to  attend  the  Diet.  Fearing  harm  might  come  to  Luther,  he  sent  him, 
in  company  with  Dietrich  of  Nuremburg,  to  the  fortress  of  Coburg  where 
he  remained  for  five  months.  He  related  to  Dr.  Selnecker  that,  during 
the  days  of  the  Diet,  Luther  sang  the  46th  Psalm  daily. 

'T^HE  Emperor  involved  the  EvangeHcal  States  in  war,  in  1547,  and 
took  the  Elector,  John  Frederick,  their  leader,  captive.  Other 
princes  were  placed  under  the  ban  of  the  Diet.  The  aged  Prince  of  An- 
halt,  Wolfgang,  being  banished  and  his  estate  handed  over  to  a  favored 
Spaniard,  mounted  his  horse  and  rode  through  the  streets  of  Bernburg 
singing: 

Take  they  then  our  life, 

Goods,  fame,  child,  and  ^ife, 

When  their  worst  is  done, 

They  yet  have  nothing  won. 
The  Kingdom  ours  remaineth. 

He  secreted  himself  in  a  grist-mill,  at  Koerau,  until  after  the  peace  of 
Passau,  1552,  when  he  again  assumed  his  estate. 

TOURING  the  siege  of  Wittenberg,  by  the  Spaniards,  professors  of  the 
university,  Melanchthon,  Jonas,  Kruziger,  and  others,  were  forced 
to  flee.  While  they  were  entering  Weimar,  they  heard  a  little  girl  sing 
*  Though  devils  all  the  world  should  fill."  These  words  comforted  them 
not  a  little.  Melanchthon  said  to  the  little  maid,  ''Sing  on,  my  little 
daughter,  sing!  thou  knowest  not  what  prominent  men  thou  art  com- 
forting." 

TOURING  1548  the  Elector,  John  Frederick,  was  a  prisoner  in  Augsburg. 

Lutheran  preachers  came  to  him  with  the  report  that  they  had  not 

only  been  deposed  from  office  but  also  banished  from  the  countcy.     Turn- 


46  Luther's  hymns 

ing  round,  and  gazing  through  the  window,  the  Elector,  with  tear-stained 

eyes,  asked,  ''Did  the  Emperor  forbid  you  the  whole  Roman  empire?" 
They  answered,  ''Yes."  He  asked,  "Does  the  Emperor  also  forbid  you 
heaven?"  They  answered,  "No."  "Ah,  then  there  is  no  fear,"  said  he, 
"The  Kingdom  ours  remaineth.  The  Lord  will  find  a  kingdom  where  you 
may  preach  his  Word."  He  handed  them  a  small  contribution,  from  his 
bag,  for  their  journey,  saying,  "Although  I  too  am  a  poor  captive  God  will 
give  me  something  again." 

npHE  pious  hero,  Gustavus  Adolphus,  grasped  the  trusty  Shield  and 
Weapon  of  Luther's  hymn  when,  on  Sept.  7,  1631,  he  resisted  the 
hosts  of  Tilly  at  Leipzig.  On  the  morning  of  the  day  of  battle  he  led  his 
army  in  singing  "Ein  feste  Burg."  With  the  exclamation,  ^'God  is  with 
us,"  he  urged  his  men  forward.  During  a  bloody  carnage,  which  lasted 
for  hours,  Tilly  fell,  and  his  hosts  beat  a  hasty  retreat.  Gustavus  Adol- 
phus kneeled  upon  the  ground,  among  his  wounded  and  dying  soldiers, 
and  thanked  the  God  of  Hosts  for  his  victory,  saying,  "He  holds  the  field 
forever."  Fourteen  months  later,  Nov.  6,  1632,  he  appeared  again  in 
the  neighborhood  of  Leipzig,  at  Luetzen,  to  give  battle  to  the  imperial 
forces  under  Wallenstein.  Here  he  was  destined  to  win  with  a  martyr's 
prize.  He  drew  up  his  men  in  battle  array  and  again  led  them  in  singing 
"Ein  feste  Burg."  WTiile  the  two  armies  stood  motionless,  facing  each 
other,  he  knelt  before  them  in  prayer,  after  which  he  began  his  own  hymn, 
"Fear  not,  O  Kttle  flock,  the  foe."  Amid  trumpet  and  bugle  calls,  the 
clash  came.  With  folded  hands  he  gazed  up  to  heaven  and  cried,  "Now 
let  us  commence!  may  God  grant  it!  Lord  Jesus  help  us  fight  to  the  honor 
of  thy  Holy  Name!"  His  men  held  the  field  although  he  lost  his  life  in 
that  battle. 

"\\/'HEN  Tilly,  in  1627,  crossed  the  Elbe,  and  forced  his  way  into  Hol- 
stein,  his  Croats  compelled  the  cantor,  John  Juenghng,  of  Bovenau, 
to  play  upon  the  organ.  Juengling  had  lived  with  Luther,  in  Witten- 
berg, for  a  long  while,  and  was  now  almost  105  years  old.  With  warmth 
for  his  preceptor  he  selected  "Ein  feste  Burg."  The  Croats  dragged  him 
from  his  bench,  by  the  hair,  and  murdered  him,  at  the  altar  of  his  church. 

TJLRICH  GAST,  a  school  teacher  in  Sommerhausen,  gives  an  account 

of  the  plundering  expedition  of  the  Knights  of  Count  Picolomini,  on 

Sept.  8,  1634.     These  cruel  riders  had  scarcely  departed  when  the  news 


LUTHER  S  HYMNS  47 

came  that  the  Emperor  Ferdinand  was  leading  his  army  in  the  direction  of 
the  town.  Filled  with  terror,  the  inhabitants  concluded  to  flee,  some  into 
Gaeu,  beyond  the  Main,  and  others  into  the  vicinity  of  Kitzingen.  The 
marching  columns  passed  through  the  south  gate  of  the  town,  bearing 
their  sick  and  aged  upon  their  arms.  When  the  line,  to  the  right,  reached 
the  hills  of  Altenberg,  Ulrich  Gast  read  to  his  companions  the  27th  Psalm. 
They  listened  in  profound  silence  and,  while  he  read  the  Knes  ''One  thing 
have  I  desired  of  the  Lord,  that  will  I  seek  after;  that  I  may  dwell  in  the 
house  of  the  Lord  all  the  days  of  my  Hfe,  to  behold  the  beauty  of  the 
Lord  and  to  enquire  in  his  temple,"  they  turned  once  more  to  look  upon 
the  gates  of  Zion  whence  they  had  just  come.  When  the  warden  of  the 
tower  began  to  sing  ''The  Word  they  still  shall  let  remain"  the  whole 
company,  reaching  from  the  brow  of  the  hill  far  out  into  the  valley  below, 
joined  him  and  were  thrilled  with  courage.  A  prominent  town  official, 
among  them,  said,  "I  never  knew  that  singing  and  pra}dng  could  have 
such  a  revi\dng  influence  upon  the  afflicted  heart."  Gast  repHed,  "That 
is  why  the  Lord  endows  men  with  such  gifts." 

TN  another  encounter  a  chief  standard  bearer  of  the  Imperial  host  fell 
from  his  horse.  A  Swedish  trumpeter  rushed  forward,  grasped  the 
ensign  and  fled.  During  the  chase  w^hich  ensued,  he  ran  his  horse  into 
an  angle  where  he  could  proceed  no  farther.  On  his  right  were  rocks,  and, 
on  the  left,  a  steep  bank  and  a  swollen  stream.  He  paused  a  moment  and 
cried,  "Help  me,  0  my  God."  Then  he  thrust  his  spurs  into  his  horse 
w^hich  reared  and  plunged  into  the  midst  of  the  stream  whence  it  sw^am, 
safely,  to  yonder  shore.  The  imperialists  did  not  dare  to  follow  him.  He 
raised  his  trumpet  and  pealed  in  loudest  tones  "A  mightv  fortress  is  our 
God." 

'\\/'HEN  the  w^ar  of  1870  broke  out,  a  grand  concert  was  given  in  the  city 
of  BerHn,  for  the  benefit  of  the  army.  Three  thousand  auditors 
were  in  attendance.  Many  patriotic  airs  were  played.  Repeated  re- 
quests for  the  "Pariser  Einzugsmarsch"  were  passed  forward.  Finally 
some  one  went  to  the  director  to  whisper  to  him  the  desire  of  the  throng. 
The  conductor  nodded  his  assent.  Instruments  were  tuned,  the  men 
raised  themselves  in  their  seats,  and  the  audience  aw^aited  the  first  notes 
with  breathless  silence.  When  the  baton  went  up,  the  majestic  strains  of 
"Ein  feste  Burg"  reverberated  through  the  spacious  hall.  No  one  dared 
to  sing,  but  many  eyes  were  bedewed  with  tears.  All  agreed  that  this  was 
the  appropriate  March  to  Paris. 


48 

TOURING  the  occupation  of  a  town  in  Alsace  the  inhabitants  were  hiding 
in  the  mountains.  The  encouraging  appeals  of  their  pastor  could  not 
induce  them  to  return.  Finally,  at  the  request  of  the  colonel  of  the  in- 
vading army,  the  regimental  band  played  "Ein  feste  Burg,"  "Was  Gott 
thut  das  ist  wohlgethan,"  and  "Jesus  meine  Zuversicht."  These  mighty 
choral  strains  dissipated  the  fears  of  the  multitude  who  said,  "People  who 
can  play  and  sing  such  hymns  can  do  us  no  harm.  These  men  are  flesh  of 
our  flesh."    They  then  returned  to  their  homes  with  joy  and  thanksgiving. 

npHE  missionary,  Christalier,  labored  in  western  Africa  for  many  years. 
A  native  interpreter  accompanied  him  in  his  daily  journeys.  During 
his  expeditions,  which  had  to  be  made  on  foot,  he  sang  many  hymns. 
After  finishing  "Ein  feste  Burg"  the  native  inquired  concerning  the 
author  of  those  hardy  lines.  When  told  his  name  was  Luther  he  said, 
"That  man,  Luther,  must  have  been  a  powerful  man,  one  can  feel  it  in  his 
hymns."  Christians  in  western  Africa  adopted  the  h^Tnn  into  their 
ser\dces.  The  Tyi  H}Tiin  Book  contains  it  in  its  original  form  which  be- 
gins thus:   "Yen  Nyeme  ne  abankese." 

\\/'HEN  the  Basel  mission  inspector,  Josenhans,  had  finished  his  investi- 
gations in  the  mission  stations  in  southern  India,  the  school  children 
of  the  mission  sang  "Ein  feste  Burg,"  as  a  farewell  hymn.  The  sight  of 
a  congregation  of  converted  heathen  upon  their  knees  and  engaged  in 
prayer  and  worship,  he  asserted,  made  a  lasting  impression  upon  him. 
Although  he  could  not  understand  their  language  he  could  readily  see  the 
influence  of  the  Spirit  in  their  lives. 

""PIN  feste  Burg"  has  been  used  repeatedly  as  a  hymn  of  consecration 
of  churches.  On  Sylvester  night,  187 1 ,  a  Jesuit  church,  in  benighted 
Spain,  in  Seville,  was  consecrated  as  a  Protestant  house  of  worship.  At 
the  close  of  the  service  the  congregation  sang,  in  Spanish,  "Ein  feste 
Burg.''  On  April  28,  1872,  a  colony  of  Germans,  in  Brazil,  consecrated 
a  house  of  worship,  in  Theresopolis,  by  singing  the  h3nain. 

AA/^HEN  Woltersdorf,  a  missionary  among  the  Jews,  visited  Rome,  he 
ascended  to  the  dome  of  the  Cathedral  of  St.  Peter  and  gave  ex- 
pression to  his  strong  Protestant  faith  by  singing  "Ein  feste  Burg."  His 
companions  caught  the  strain  and  sang  with  him  to  the  end,  with  power- 
ful effect. 


Luther's  hymns  49 

A  TEACHER  in  Silesia  made  it  an  annual  custom,  between  Oct.  31st 
and  Nov.  10th,  to  relate  to  his  scholars  the  history  of  the  Reformation 
and,  on  the  latter  date,  to  celebrate  the  occasion  with  special  exercises. 
On  Nov.  10,  1857,  a  warm  autumn  day,  when  the  windows  were  open,  the 
children  sang  ''Ein  feste  Burg."  At  the  end  of  the  last  stanza  a  rap  on 
the  door  was  heard.  A  dilapidated  looking  man  entered  and  said,  "I 
thank  you  for  the  comfort  you  gave  me  by  singing  that  beautiful  hymn. 
The  Lord  has  been  a  mighty  fortress  to  me  for  eighteen  years,  while  I 
lay  in  prison,  under  a  charge  of  murder.  He  helps  us  free  from  every 
need,  I  know  from  my  experience.  A  rich  landowner  confessed  on  his 
death-bed  that  he,  and  not  I,  was  the  murderer,  and  so  I  was  released." 
Deeply  affected  by  the  tale  of  this  man's  experience,  teacher  and  scholars 
sang  the  hymn  again.  During  the  last  stanza  the  man  joined  his  happy 
hosts  singing: 

When  their  worst  is  done, 
They  yet  have  nothing  won. 
The  Kingdom  ours  remaineth. 

J^EOPOLD  FIRMIAN  was  appointed  archbishop  of  Salzburg  in  1727. 
He  was  haughty,  hard  hearted  and  cruel  and,  to  court  the  favor  of  the 
Pope,  determined,  from  the  beginning  of  his  reign,  to  force  the  Protes- 
tants to  renounce  their  faith.  He  sent  out  hordes  of  Jesuits  as  * 'Preachers 
of  Repentance"  who  preyed  hard  upon  the  people.  Homes  were  ran- 
sacked for  Lutheran  writings  which  were  burnt.  Woe  to  him  who  con- 
fessed his  Protestant  faith.  He  was  publicly  handed  over  to  the  Devil 
and  deprived  of  all  rights  as  a  Christian.  In  case  of  death  his  body  was 
not  accorded  interment  in  consecrated  ground.  Soldiers  took  possession 
of  Christian  homes  in  which  they  behaved  shamefully.  Toward  the 
close  of  1731  the  Salzburgers  began  to  migrate  to  Prussia.  The  pious 
King,  Frederick  William  I,  provided  for  them  in  every  way  possible. 
The  citizens  of  Gera,  in  Thuringia,  arose  before  dawn  of  day,  when  the 
news  of  their  approach  was  brought,  and  went  forth  in  companies  to  greet 
them,  singing  "Ein  feste  Burg."  They  opened  their  homes  to  the  tired 
wanderers  and  accorded  them  many  comforts.  Services  were  held  in  the 
churches  and,  when  they  departed,  many  Luther  hymns  were  sung  to 
cheer  them  on  their  way. 

As  in  Salzburg  and  Hungary,  so  in  Bohemia  and  Moravia,  the  Austrian 

government  raved  in  incomprehensible  blindness  against  her  noblest 

subjects,  the  Protestant  Christians.     The  reading  of  God's  Word  had 


5°  Luther's  hymns 

created  a  new  awakening  in  Kunewald  during  1723.  Meetings  were  held 
in  the  home  of  the  wheelwright,  David  Nitschmann.  When,  on  a  certain 
Sunday,  his  son,  Melchior,  extolled  to  them  the  glory  of  the  Gospel,  an 
officer  entered  and  demanded  all  their  Bibles  and  hjonn  books.  They 
>ielded  all  without  hesitation;  but  while  the  books  were  being  delivered 
they  sang  "Ein  feste  Burg."  The  following  day  tw^enty  of  the  men  of 
that  congregation  were  imprisoned.  After  their  release  they  emigrated  to 
Germany  where  they  found  a  permanent  home  called  "Herrnhut"  (in 
the  Lord's  keeping)  by  their  friend  and  second  organizer,  Count  Zinzen- 
dorf. 

^  MONSTER  musical  festival  was  held  in  Boston  in  1869.  Ten 
thousand  voices,  accompanied  by  eleven  thousand  instruments,  sang 
"Ein  feste  Burg"  in  five  different  languages:  German,  English,  Swedish, 
Norwegian  and  Danish. 

It  was  sung,  Sept.  15,  1882,  by  the  assembled  thousands,  on  the  field 
of  Luetzen,  during  the  services  held  in  commemoration  of  the  jubilee  of 
the  Gustavus  Adolphus  Society  which  seeks  to  aid  Protestant  churches  in 
Roman  Catholic  countries. 

It  was  the  favored  hymn  at  Hermansburg  when  farewell  services  were 
held  for  a  band  of  missionaries  sent  forth  by  Ludwig  Harms. 

During  the  Luther  celebration,  Sept.  12-14  and  Nov.  10-12,  1883,  it 
was  sung  in  the  Castle  church  in  Wittenberg,  Sept.  12th;  in  Eisleben  at  the 
unveiling  of  the  Luther  Memorial,  Nov.  10th,  it  was  sung  in  the  market 
place;  and  it  was  in  prominence  in  numberless  celebrations  throughout 
Germany,  Great  Britain  and  America. 


LUTHER'S  HYMNS 


51 


Translations 


aicf)  (gott,  bom  J^immel  iit\)  barem 

Look  down,  O  Lord,  from  heaven  behold 

Salvum  me  fac,  Domine 
-  Psalm  12 
C.  U.  4 


N.  C.  U.  9 


Title— The  Word  of  God,  and  the  Church 


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(^  ®ott  I  bom  .^tmmel  fic!^  baietn, 
Unb  lafe  bid^  be§  erfiarmen ! 
SBie  icenig  finb  ber  .^eilgen  bein  I 
SSerlaffen  finb  totr  Qlrtnen. 
S)ein  SSort  man  Id^t  nicf)t  ^a5en  toal^r; 
S)er  ©louS  ift  auc^  erk)fd)en 

gar 
S5ei  alien  3Jlenf(^en!inbcm. 


2.  ©ie  te:^ren  eitet  fatfdie  Sift 
2Ba§  cigen  Wi%  erfin= 

bet; 
J^fir  ^ers  nid^t  eme§  (Sinned  ift 
Sn  @otte§  5Bort  gegnmbet; 
®er  toci'^Iet  biefe,  ber  anbre  "t^OL^, 
©ie  trennen  unS  oI)n  nUe  "^o^cS^ 
Unb  gteifeen  fc^on  bon  aufeen. 


OOK  down,  0  Lord,  from  heaven 
^  And  let  thy  pity  waken!  [behold, 
How  few  the  flock  within  thy  fold, 

Neglected  and  forsaken! 
Almost  thou'lt  seek  for  faith  in  vain. 
And  those  who  should  thy  truth  main- 
tain 

Thy  Word  from  us  have  taken. 

With  frauds  which  they  themselves 
invent 

Thy  truth  they  have  confounded; 
Their  hearts  are  not  with  one  consent 

On  thy  pure  doctrine  grounded; 
And,  whilst  they  gleam  \\ath  outward 
They  lead  thy  people  to  and  fro,  [show, 

In  error's  maze  astounded. 


3.  ©Dtt  toollt  Qu^rotten  alle  Ca^r  (Sel^r) 
®te  falfd^en  (5d]ein  un§  tefjren; 
S)a  5U  iljr  '^^wvi^  ftolj  offenfiar 
©priest:  trol^!  tcer  trilB  un§  tt)ef)ren? 
2Bir  l^aben  9^ed^t  unb  5IRa(^t  alletn, 
2Ba§  trir  fei2en,  h^^  gilt  gemetn, 
S33er  ift,  ber  un5  foil  meiftern? 


3.  God  surely  will  uproot  all  those 
With  vain  deceits  who  store  us. 

With  haughty  tongue  who  God  oppose, 
And  say,  "Who'll  stand  before  us? 

By  right  or  might  we  will  prevail; 

What  we  determine  cannot  fail. 
For  who  can  lord  it  o'er  us?" 


52 


LUTHER  S  HYMNS 


4.  ^arum  f^rid^t  ©ott:  id}  mufe  auf  [etn, 
2)ie  airmen  [inb  berftoret: 

^^x  ©eufgen  bringt  511  mir  l^erein, 
^d)  1)0^  il)r  5?lao  erpret; 
2)Zem  l)etl[am  2Bort  foil  auf  ben  ^lan 
©etroft  unb  frifrf)  fie  greifen  an 
Unb  fein  bie  ^raft  bcr  airmen. 

5.  ®a§  ©ilber,  burd^§  gear  fieSenmal 
S3etod^rt,  toirb  lauter  funben: 

§ln  ®otte§  3Bort  man  toarten  foil 
®e§glei(f)en  alle  ©tunben. 
@g  tt)ill  burets  ^reus  feetodl^tet 

fein, 
®a  toirb  fein  ^raft  er!annt  unb  (Sd^ctn, 
Unb  leuc^t  ftarf  in  bie  Sanbe. 

6.  ®o§  iDollft  bu,  @ott,  betoal^ren  rein 
33or  biefem  argen  ©fd^led^te, 

Unb  lafe  un§  bir  fiefo^len  fein, 
S)afe  fid^S  in  un§  ni^t  fle^te. 
S)er  gottlo§  ^auf  fi(^  uml)er  finb't, 
2Bo  biefe  lofe  Seute  finb 
^n  beinem  SSolI  er^aben. 


4.  For  this,  saith  God,  I  will  arise, 

These  wolves  my  flock  are  rending; 
I've  heard  my  people's  bitter  sighs 

To  heaven  my  throne  ascending: 
Now  will  I  up,  and  set  at  rest 
Each  weary  soul  by  fraud  opprest, 

The  poor  with  might  defending. 

5.  The  silver  seven  times  tried  is  pure 

From  all  adulteration;         [endure 
So,  through  God's  Word,  shall  men 

Each  trial  and  temptation: 
Its  worth  gleams  brighter  through 

the  cross. 
And,  purified  from  human  dross, 

It  shines  through  every  nation. 

6.  Thy  truth  thou  wilt  preserve,  O  Lord, 

From  this  vile  generation; 
Make  us  to  lean  upon  thy  Word, 

With  calm  anticipation. 
The  wicked  walk  on  every  side 
When,  'mid  thy  flock,  the  vile  abide 

In  power  and  exaltation. 

Tr.  Frances  E.  Cox. 


TpHIS  hymn,  and  its  companion,  "Nun  freut  euch,"  greatly  furthered 
the  cause  of  the  Reformation.  Bunsen,  1833,  says,  it  is  "A  cry,  by 
the  Church,  for  help,  founded  upon  the  Word  of  God,  and  as  a  protection 
against  its  contemners  and  corrupters."  Its  strong  and  passionate  temper 
is  easily  estimated  from  Luther's  personal  experiences.  It  does  not  cor- 
respond with  the  translation  maxims  of  1524,  nor  is  it  included  in  the 
Psalter  of  that  year.  Spitta  Hnks  it  with  1518  or  1519  without,  however, 
giving  any  proof  for  his  opinion.  Authorities  agree  that  it  antedates 
1524.  The  Erfurt  Enchiridion  and  the  Achtliederbuch,  of  1524,  contain 
it.  Buchwald  and  his  associates,  1905,  maintain  that  the  hymn  evidently 
was  one  of  the  first  metrical  compositions  of  a  Psalm  by  Luther. 

Spangenberg,  in  his  "Cithara  Lutheri,"  1569,  says  it  contains  a  cordial* 
complaint,  an  earnest  plea,  and  an  assured  hope,  against  false  teachers 
and  hypocrites  who  sorely  afflict  the  Christian  Church.  It  pictures  their 
cunning  and  scorn  and  exhibits  the  pathetic  condition  of  their  hearts  and 
lips,  thoughts  and  words.  It  also  describes  God's  strength,  in  most  com- 
forting and  beautiful  terms,  and,  finally,  indicates  how  the  Church's  peril 
and  defence  are  made  known  through  prayer. 


53 

A^HEN,  in  1527,  John  Oldendorp,  and  Lampe,  attempted  to  abolish 
papal  ceremonials  in  St.  Magnus,  Brunswick,  and  great  crowds  at- 
tended their  services,  the  Roman  authorities  requested  Dr.  Sprengel 
(Spruetze),  of  the  Magdeburg  cathedral,  as  Lauxman  relates,  to  come  and 
preach  three  sermons  whereby  he  might  weed  out  the  Lutheran  heresy. 
On  the  22d  Sunday  after  Trinity,  1527,  he  preached  on  the  parable  of  the 
Unmerciful  Servant  (St.  Matt.  18  :  23-35),  and  declared  salvation  by 
good  works.  At  the  close  of  the  sermon  a  citizen  began  to  sing  "Ach 
Gott,  vom  Himmel"  and,  as  the  whole  congregation  joined  in  the  singing, 
the  discomfited  priest  suddenly  left  the  pulpit  and  never  again  preached 
in  Brunswick. 

QN  the  2d  Sunday  in  Advent,  1529,  a^preacher  in  St.  Jacob's,  Luebeck, 
exhorted  to  prayers  for  the  dead.     Two  boys  began  the  hymn  and, 
the  congregation  following,  sang  the  whole  of  it. 

^  GOD-FEARING  minister,  Dr.  Joachim  Moerlin,  1553,  preached  the 
Word  in  clear  and  unmistakable  terms,  in  Koenigsberg.  Duke 
Albert,  however,  supported  Dr.  Andrew  Osiander,  the  opponent  of  Dr. 
MoerHn  and  his  Evangelical  teaching.  When  the  latter  had  been  ban- 
ished from  his  pulpit,  four  hundred  men  appeared  before  Albert  and 
plead  for  the  restoration  of  their  favorite  preacher,  but  their  appeals 
fell  on  deaf  ears.  The  crowds  massed  in  the  palace  yard  and  sang  "Ach 
Gott,  vom  Himmel,"  but  their  efforts  failed.  A  station  was  found  for  Dr. 
MoerKn,  in  Brunswick,  where  the  persistent  and  devout  man  preached  the 
Word,  and  prayed  so  fervently  for  the  aged  duke  that  he  recalled  the 
banished  doctor,  1587,  and  appointed  him  bishop  of  Samland.  Here  he 
continued  in  unhindered  devotion  until  his  death  which  came  but  four 
years  later. 

"\\/'HEN  PhiKp  Jacob  Spener  visited  the  churches,  in  Frankford-on-the- 
Main,  and  found  them  in  a  wasted  condition,  his  heart  sank.  He, 
however,  took  hold  of  his  task  in  an  earnest  spirit  and  while,  on  a  certain 
occasion,  he  entered  the  church  for  prayer,  the  congregation  sang  this 
majestic  hymn.  The  fourth  stanza  afforded  him  special  pleasure  and  en- 
couragement. He  spent  twenty  years  in  Frankfurt.  When  summoned  to 
Dresden  to  occupy  the  responsible  position  of  Court  Preacher,  July,  1686, 
he  was  greatly  pleased  when  the  people  of  the  first  Saxon  village  he  entered 
greeted  him  by  singing  '^Ach  Gott,  vom  Himmel."  At  his  request,  it  was 
repeatedly  sung  before  his  door,  by  the  children  of  the  schools. 


54 


luther's  hymns 


Translations 


€i  s;ptici)t  ber  Win\nti^tn  iWunb  toofil 

The  mouth  of  fools  doth  God  confess 

Dixit  insipiens  in  corde  suo,  Non  est  Deus 

Psalms  14  and  53 

IS'  ^*  ir  ^  Title— The  Word  of  God,  and  the  Church 

(N.  C.  U.  6 

John  Walter's  book,  1524 


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— I \ ^ 1 

npHE  mouth  of  fools  doth  God  confess, 
But  while  their  hps  draw  nigh  him 
Their  heart  is  full  of  \\'ickedness, 
And  aU  their  deeds  deny  him. 
Corrupt  are  they,  and  every  one 
Abominable  deeds  hath  done; 
There  is  not  one  well-doer. 

2.  The  Lord  looked  down  from  his  high 

On  all  mankind  below  him,   [tower 
To  see  if  any  owned  his  power, 

And  truly  sought  to  know  him; 
Who  all  their  understanding  bent 
To  search  his  holy  Word,  intent 

To  do  his  will  in  earnest. 

3.  But  none  there  was  who  walked  with 

For  all  aside  had  slidden,       [God, 
Delusive  paths  of  folly  trod, 

And  followed  lusts  forbidden; 
Not   one  there  was  who  practiced 
good,  [mood. 

And  yet  they  deemed,  in  haughty 

Their  deeds  must  surely  please  him. 

4.  How  long,  by  folly  bhndly  led, 

Will  ye  oppress  the  needy. 
And  eat  my  people  up  like  bread? 
So  fierce  are  ye,  and  greedy! 


(i 


§  [|)ri(^t  ber  Uninetfen  SJhinb  toot: 
®en  rec^ten  ©ott  toir  meinen ; 
®D(f)  tft  t[)r  ^erj  Unglaviben§  boll, 
Wii  Stt)at  [te  \\)n  berneinen; 
^\)x  SSe^en  ift  berberbet  gtDot; 
S5or  ®ott  ift  e§  ein  ©reuel  gar; 
®§  t^ut  t^r'r  !einer  f etn  @ut. 


2.  ®ott  \t\h\i  bom  ^immel  fa^  l^crofi 
Sluf  alter  STlcnfd^en  ^tnben; 

3u  [cfiauen  [ie  er  fic^  fiegab, 
Ob  er  jemanb  moc^t  finben, 
©er  jetn'n  35er[tanb  geri(f)tet  ^atf, 
m\i  (Srn[t  nad)  @otte§  Shorten  tfjat, 
Unb  fragt  na6)  f einem  SBitten. 

3.  ©a  toar  ntemanb  auf  red)ter  '^a\)n, 
(Sie  tnarn  oil  au§ge[d)ritten. 

(Sin  ieber  ging  nad)  feincm  '^a^n 
Unb  l)ie(t  berlome  ©itten. 
©§  tljdt  iljr'r  Ictner  bod^  !ein  ®ut; 
SBietnol  gar  bid  betrog  bcr  W\xi^, 
^l)r  Stt)un  follt  @ott  gefatten. 


4.  2Gie  tang  tootten  untniffenb  [ein, 
2)ie  [olct)e  2Jiii^  auflaben, 
Unb  freffen  bafiir  ha^  SSotf  mein, 
Unb  nat)rn  fic^  mit  fein'm  ©c^aben? 


55 

@§  \tttjt  itjx  Zxaucn  nid]t  auf  ®ott;  in  God  they  put  no  trust  at  all, 

(Sie  rufen  i^n  nid^t  in  ber  ^otl),  Nor  wiU  on  him  in  trouble  call, 

©te  tooUn  fid^  \db\t  berforgen.  But  be  their  own  providers. 

5.  Saturn  ift  il)X  ^er^  nimmer  ftUt,                  5.  Therefore  their  heart  is  never  still, 
Unb  [te^t  allaeit  in  5urd)ten,  A  faUing  leaf  dismays  them; 
@ott  bet  ben  grommen  bletaen  totll,  God  is  with  him  who  doth  his  will, 
®em  fie  im  ©lauben  0'f)orcf)en.  Who  trusts  him  and  obeys  him; 
^l)X  ober  fcfimdtjt  be§  Strmen  9^at^  But  ye  the  poor  man's  hope  despise, 
Unb  mntt  alleS,  tva§>  er  fagt  And  laugh  at  him,  e'en  when  he  cries, 
SDaB  ®ott  [etn  Xroft  tft  tooxbtn.  That  God  is  his  sure  comfort. 

6.  Ber  foH  ^frael  bem  otmen,  6.  Who  shall  to  Israel's  outcast  race 
3u  3ion  ^etl  erlangen  ?  From  Zion  bring  salvation? 

Q^tt  totrb  ft(^  [etn§  35oI!§  erbarmcn,  God  will  himself  at  length  show  grace, 

Unb  (of en  tie  ©efangnen.  And  loose  the  captive  nation; 

S)a§  hJtrb  er  t^un  burcf)  [etnen  ©o^n.  That  wiU  he  do  by  Christ  their  King; 

S)abon  totrb  Saci)^  SBonne  f)an,  Let  Jacob  then  be  glad  and  sing, 

Unb  ^frael  fic^  freuen.  And  Israel  be  joyful. 

TpHIS,  also,  is  one  of  the  earliest  of  Luther's  hymns,  and  belongs  to  a 
period  antedating  1524.  It  was  written  expressly  for  public  worship. 
Through  a  number  of  parallel  passages  Spitta  associates  it  with  the  *'Ope- 
rationis  in  Psalmos,"  1518.  Some  authorities  designate  it  as  one  of  the 
sample  poems  Luther  submitted  to  Spalatin.  His  phraseology  is  some- 
what heavy,  and  the  poetic  worth  of  the  hymn  is  not  in  ail  respects  equal 
to  many  of  his  later  productions.  It  appeared  in  the  *'EtHch  geistlich 
Lieder"  and  the  Erfurt  Enchiridion  of  1524.  In  the  Halberstadt  Hymn 
Book  a  seventh  stanza  was  added  which  summarized  the  prayer  of  the 
hymn. 

Stanza  1  shows  that  the  works  of  depraved  men  deny  their  confessions 
of  God;  2  God  looks  upon  man  and  inquires  into  the  condition  and  under- 
standing of  his  heart;  3  all  men  walked  in  their  own  and  sinful  ways;  4  in- 
quires to  what  extent  men,  in  need,  refuse  to  call  upon  God,  and  how  far 
they  will  follow  paths  hurtful  to  them;  5  shows  reasons  for  human  dis- 
quietude, and  promises  the  divine  presence  with  the  obedient;  and  6 
teaches  that,  through  the  Son,  divine  mercy  follows  spiritual  Israel,  and 
brings  rejoicing  to  Jacob. 


56 


LUTHER  S   HYMNS 


Mitttn  tDir  im  ILtbtn  ^inh 
Though  in  midst  of  life  we  be 

Media  vita  in  morte  sumus 


Translations- 


C.  U.  5 

N.  C.  U.  7 


Title — Hymn  for  the  dying,  and  for  burials 

John  Walter's  book,  1524 


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itten  toir  im  Ceben  [tnb 
SD^it  bent  2^ob  umfangen. 
SBen  fuc^'n  toir,  ber  ^iilfc  tE)ut 
2)afe  njtr  ©nab  erlangen? 
S)ag  bift  bu,  §err,  aUeinc. 
Un§  reuet  unfre  SJ^iffettiat, 
S)ie  btd^,  ^err,  ergiimet  ^at. 
^eilifier  ^erre  ®ott ! 
^ciliger  ftar!er  ®ott ! 
^eiUger  barmtiergiger '.^cilonb  I 
2)u  etoifier  ©ott  I 
Cafe  nn§  nid^t  berfinfcn 
Sn  be§  bittern  ^obc§  9^ot^. 
^^rieleifon. 

aJiitten  in  bem  2:ob  anfirf)t 

Un§  ber  pollen  9la(f)en. 

SBer  h)ill  un§  ou§  foIrf)cr  9?ot^ 

gret  unb  lebig  mad)en? 

S)a§  tf)u[t  bu,  .^err,  aHeine. 

(58  iammert  bein'r  SBarml)er3ig!ett 

Unfre  ©iinb  unb  grofeeS  Ceib. 


2. 


■^HOUGH  in  midst  of  life  we  be, 

Snares  of  death  surround  us; 
Where  shall  we  for  succor  flee, 

Lest  our  foes  confound  us? 
To  thee  alone,  our  Saviour. 
We  mourn  our  grievous  sin  which  hath 
Stirr'd  the  fire  of  thy  fierce  wrath. 

Holy  and  gracious  God! 

Holy  and  mighty  God! 

Holy  and  all-merciful  Saviour! 

Thou  eternal  God! 
Save  us,  Lord,  from  sinking 
Tn  the  deep  and  bitter  flood. 
Kyri'  eleison. 

Whilst  in  the  midst  of  death  we  be, 
Hell's  grim  jaws  o'ertake  us; 

Who  from  such  distress  will  free, 
Who  secure  will  make  us? 

Thou  only.  Lord,  canst  do  it! 

It  moves  thy  tender  heart  to  see 

Our  great  sin  and  misery. 


Luther's  hymns 


57 


^eilificr  ^errc  @ott  I 
^eiUger  ftarf er  ©ott ! 
^eiliger  taxmljcx^iQtx  ^eilonb  I 
©u  eUJioer  @ott ! 
Cafe  un§  ni(f)t  ber^aoen 
SSor  ber  tiefen  ^oUenglut. 
ff^rieleifon. 

3.  mitttn  in  ber  ^oHen  5lngft 
Unfre  (BiXnb'  un§  trei&en. 
SBo  foll'n  toir  bemi  flietien  l^ln, 
2)a  iDtr  mogen  filetben  ? 
3u  bit,  ^txx  (SI)ri[t,  alleine. 
SSergoffcn  ift  bein  tf)eure§  Slut, 
2)a§  gnug  fitr  bie  ©iinbe  t^ut. 
^eiliger  ^erre  &oti  I 
^eiliger  \iaxltx  ©ott  I 
^eiltger  fcarmtier^tger  ^eilanb  I 
2)u  etotger  @ott  I 
Safe  un§  nid^t  entfaUen 
SSon  be^  recf)ten  ©lauben^  Stroft. 
^^rieleifon. 


Holy  and  gracious  God! 

Holy  and  mighty  God! 

Holy  and  all-merciful  Saviour! 

Thou  eternal  God! 
Let  not  hell  dismay  us 
With  its  deep  and  burning  flood. 
Kyri'  eleison. 

3.  Into  hell's  fierce  agony 

Sin  doth  headlong  drive  us: 
Where  shall  we  for  succor  flee, 

Who,  0,  who  will  hide  us? 
Thou  only,  blessed  Saviour. 
Thy  precious  blood  was  shed  to  win 
Peace  and  pardon  for  our  sin. 

Holy  and  gracious  God! 

Holy  and  mighty  God! 

Holy  and  all-merciful  Saviour! 

Let  us  not,  we  pray, 
From  the  true  faith's  comfort 
Fall  in  our  last  need  away. 
Kyri'  eleison. 


TpHE  Benedictine  Cloister  of  St.  Gall  is  noted  for  its  five  eminent  monks 
by  the  name  of  Notker :  Notker  Balbulus  (stammerer)  was  the  oldest, 
and  died  in  A.  D.  912;  his  pupil,  Notker  Physicus,  was  a  noted  physician, 
and  gifted  in  music;  the  latter's  nephew,  Notker  the  Abbot,  acquired 
recognition  as  an  educator;  Notker,  the  Provost,  became  bishop  of 
Luettich  in  972 ;  and  Notker  Labeno,  or  Notker  the  German,  developed 
the  school  of  the  cloister  to  its  highest  efficiency.  He  translated  Psalms, 
and  other  portions  of  the  Scriptures,  into  German,  and  died  in  1022. 

Fischer's  Lexicon,  Julian's  Dictionary,  and  other  authorities,  ascribe 
the  hymn  ''Mitten  wir  im  Leben  sind,"  to  the  ''Antiphona  de  morte," 
written  by  the  elder  Notker.  An  account  in  Hiller's  book,  Stuttgard, 
1691,  says  that  in  A.  D.  446,  before  the  siege  of  the  Saracens  and  Turks, 
8th  century,  a  terrible  earthquake  rocked  Constantinople  and  shattered 
the  city  walls  and  threw  down  27  towers.  Periodic  tremors  were  felt  for 
six  months.  This  was  supposed  to  have  been  the  occasion  of  the  hymn. 
According  to  another  tradition  the  Antiphone  was  written  by  Notker 
after  watching  some  workmen  build  a  bridge  across  the  Martinstobel,  a 
gorge  of  the  Goldbach  on  its  course  from  St.  Gall  to  the  lake  of  Constance. 
The  present  wooden  structure,  96  ft.  high,  was  erected  in  1468.  The 
Chronicle  of  J.  Meitzler,  written  in  1613,  contains  the  earliest  tradition 
extant,  of  the  hymn,  but  fails  to  prove  the  legend  or  the  ascription.     The 


58  Luther's  hymns 

Antiphone  is  given  in  only  three  of  the  St.  Gall  manuscripts:  No.  388  of 
the  14th  century;  No.  418  of  1431;  and  No.  546  of  1507  (1505?),  and  none 
of  these  name  Notker  as  the  author. 

Rambach  says  that,  by  the  middle  of  the  13th  century,  the  hymn  had 
come  into  general  use  as  a  hymn  of  prayer  and  suppKcation,  in  times  of 
trouble,  was  sung,  regularly,  at  Compline,  on  the  eve  of  Laetare  Sunday, 
and  was  used  by  the  people  as  an  incantation.  Baessler  adds  that  it  was 
sung  as  a  battle-hymn  by  the  priests,  who  accompanied  the  hosts,  before 
and  during  engagements ;  and  that,  on  account  of  the  magic  properties  as- 
cribed to  it,  its  use  was  forbidden,  except  by  permission  of  the  bishop,  at  a 
synod  held  at  Cologne  in  1316  (1310?).  The  refrain  "Sancte  Deus," 
based  on  Isaiah  6  :  3,  is  said  to  date  from  the  5th  century.  It  is  based  on 
the  Trisagion,  an  invocation,  introduced  into  the  Greek  service  books  of 
about  A.  D.  446. 

The  antiphone,  De  Morte,  ran  thus: 

Media  vita  in  morte  sumus: 

quern  quaerimus  adjutorem,  nisi  te,  Domine 

qui  pro  peccatis  nostris  juste  irasceris, 

sancte  deus,  sancte  fortis,  sancte  et  misericors  salvator, 

amarae  morti  ne  trados  nos. 

In  the  midst  of  life  we  are  in  death: 

What  helper  seek  we,  if  not  Thee,  Lord, 

Who,  on  account  of  our  sins,  art  rightly  enraged, 

Holy  God,  holy  and  mighty,  holy  and  merciful  Saviour, 

Deliver  us  not  unto  bitter  death. 

"Mitten  wir  im  Leben  sind"  bears  a  closer  relation  to  the  Latin 
original  than  many  others  of  Luther's  poems.  In  his  first  stanza,  he 
revived  the  ancient  Antiphone  and  cast  it  into  an  Evangelical  mould  and 
added  two  new  stanzas  which  develop,  in  detail,  the  fundamental  thought 
of  the  Antiphone.  The  words,  "Into  hell's  fierce  agony  sin  doth  headlong 
drive  us,"  raise  the  Reformation  call  to  repentance  with  trembhng  force. 
The  pre-Reformation  elaborations  are  evidently  pleas  for  deliverance 
from  the  perils  of  death.  Luther  expressed  sorrow  for  the  sins  which 
stirred  the  wrath  of  God,  and  prays  for  deHverance  from  the  depths  of 
death  which  follow  the  eternal  judgment.  In  contrast  with  joy  in  beHev- 
ing,  which  Luther  exhibits  in  other  hymns,  we  have  here  the  painful  cry 
of  a  soul  tormented  by  fear,  before  God.  According  to  the  sum  total  of 
the  contents  of  the  hymn,  says  Khppgen,  it  can  not  have  appeared  later 
than  the  first  Erfurt  Enchiridion.     It  is  properly  called  "A  hymn  of  tri- 


Luther's  hymns  59 

umph  over  the  grave,  death  and  hell,"  and  holds  a  prominent  place 
among  German  hymns  for  the  dying,  and  has  comforted  many  in  their 
last  conflict. 

German  translations,  antedating  Luther's  poem,  appeared  as  early  as 
the  15  th  century.  One  of  these  is  given  by  Wackernagel,  from  a  manu- 
script found  in  Munich.  He  also  gives  nearly  the  same  text  from  the 
Basel  Plenarium  of  1514. 

En  mitten  in  des  lebens  zeyt 
sey  wir  mit  tod  umbfangen: 
Wen  such  wir,  der  uns  hilffe  geit, 
von  dem  wir  huld  erlangen, 
den  dich,  Herre,  all  ayne? 
der  du  umb  unser  missetat 
rechtlichen  zurnen  tuest. 
Heyliger  herre  got, 
heyhger  starcker  got, 
heyhger  parmhercziger  hailer,  ewiger  got, 
lass  uns  nit  gewalden  des  pittern  todes  pot. 

The  hymn  appeared  in  the  Erfurt  Enchiridion,  and  Walter's  book,  of 
1524;  the  book  by  Joseph  Klug,  1543;  and  the  publication  by  Valentin 
Babst,  1545.     Luther  included  it  among  his  funeral  hymns  in  1542. 

nPHE  principal  of  the  high  school  of  Magdeburg,  George  Rollenhagen, 
lay  upon  his  death-bed,  in  1609.     His  pastor  asked  him  whether  he 
retained  the  Lord  Jesus  in  his  heart,  and  purposed  to  abide  wdth  him. 
He  replied, 

Where  shall  we  for  succor  flee, 
Who,  O,  who  will  hide  us? 
Thou  only,  blessed  Saviour. 

IV/f  ADAM  MAGDALENE  of  Schleinitz  repeated  the  same  lines  when, 
during  1614,  in  her  helpless  and  suffering  condition" she  had  to  be 
carried  about  by  her  friends. 

FJORGTHEA,  the  daughter  of  a  Swedish  captain,  who  accompanied 
Gustavus  Adolphus,  on  his  expedition  against  the  imperial  forces, 
followed  her  father  into  Germany.  She  learned  to  love  the  German 
hymns,  especially  "Mitten  wir  im  Leben  sind."  She  said,  "There  is  no 
more  magnificent  hymn  than  this.  The  third  stanza  is  especially  vigor- 
ous, and  every  word  of  it  is  important." 


6o  Luther's  hymns 

"^^HEN  the  French  destroyed  the  beautiful  Palatinate  of  the  Rhine,  and 
wrought  special  havoc  by  incendiarism  and  rapine  in  the  ancient, 
imperial  city  of  Speier,  the  dependents  of  a  grievously  punished  citizen, 
who  had  been  reduced  to  a  mendicant,  complained  that  now  they  were 
compelled  to  wander  about  in  misery.  But  he  repHed  in  a  comforting 
tone,  ''Be  not  afraid,  my  friends,  we  must,  indeed,  flee,  but  not  into  mis- 
ery; we  shall  go  to  where  we  shall  be  safe  and  secure  against  misery 
and  death.     Have  you  not  repeatedly  sung  with  me: 

Where  shall  we  for  succor  flee, 
Who,  O,  who  will  hide  us? 
Thou  only,  blessed  Saviour. 

We  are  not  really  banished,  but  through  such  an  exile  we  reach  our  proper 
and  secure  place;  it  is  Christ  Jesus." 

npHE  hymn,  however,  was  not  hmited  to  occasions  of  sorrow  and  suf- 
fering; its  telling  admonitions  and  comforts  were  fully  appreciated 
when  the  Hessian  governor  of  SchUtz,  Otto  Hartmann,  used  it  in  daily 
Matins  and  Vespers.     Hartmann  died  in  1657. 

A  FTER  a  long  and  faithful  service  in  Brunswick,  pastor  John  Karl 

Berkhan,  1782,  was  permitted  to  enter  into  his  rest.     His  colleague, 

pastor  Warnecke,  sat  beside  his  bed.    The  dying  one  asked  his  friend  to 

read  another  of  Luther's  hymns.     ''Mitten  wir  im  Leben  sind"  was 

selected.     When  he  reached  the  lines: 

Whilst  in  the  midst  of  death  we  be, 
Hell's  grim  jaws  o'ertake  us, 

Berkhan  interrupted  him  and  said,  "This  is  Luther's  heroic  poem";  and 
he  bowed  his  head  and  died. 

npHE  traveler  from  Stuttgard  to  the  quiet  "Cornthal"  will  behold,  a 
mile  away,  by  the  side  of  the  road,  a  plain  monument  bearing  this 
inscription : 

Though  in  midst  of  life  we  be, 
Snares  of  death  surround  us. 

It  marks  the  spot  where  a  venerable  peasant,  one  of  the  pious  fathers  of 
this  community,  died  during  Holy  Week,  in  1854.     At  six  o'clock  he  took 


Luther's  hymns  6i 

an  evening  stroll.  A  friend  found  him,  leaning  against  a  tree,  almost  ex- 
hausted by  a  coughing  spell.  He  exclaimed, ''Dear  Saviour,  help  me."  A 
passing  teamster  was  hailed  and  the  sufferer  placed  into  his  wagon,  but 
before  the  former  lifted  the  reins  to  urge  on  his  beasts  the  aged  wanderer 
had  gone  home  to  his  God. 

TN  1386,  1400  Swiss  farmers  and  herders,  in  linen  coats  and  with  simple 
weapons,  resisted  the  land-greedy  duke  of  Austria,  at  Sempach.     Be- 
fore the  attack  they  united  in  singing: 

Though  in  midst  of  life  we  be, 
Snares  of  death  surround  us. 

Then  they  fell  upon  their  knees  and,  with  outstretched  hands,  appealed 
to  heaven  for  aid.  "See,"  cried  a  mocking  knight,  "the  cow-herdsmen 
are  pleading  for  mercy."  "Yes,"  repKed  one  of  the  duke's  noblemen, 
"they  are  pleading  for  mercy,  but  not  from  us;  they  are  appeaHng  to  God, 
and  what  this  may  signify  we  shall  speedily  know."  The  proud  hosts  of 
royalty  soon  learned  that  they  who  call  upon  God,  in  sincerity,  do  not 
appeal  in  vain.  The  victory  of  these  peasants  fills  an  indeHble  chapter 
in  the  history  of  the  world. 


62 


LUTHER  S  HYMNS 


iHit  Jfrieb  unli  jFreub  iclj  fafjr  baftin 
In  peace  and  joy  I  now  depart 

Nunc  dimittis 
St.  Luke  2  :  29-32 


Translations 


C.  U.  1 


{S: 


i 


C.  U.  9 


Title — Hymn  for  the  dying  and  burials 

John  Walter's  book,  1524 


^ 


W=F=^ 


m 


I 


^r 


:^ti=^ 


-g^-^- 


'\^ 


1^-H- 


■^ 


i^ 


^=w^ 


•— ^ 


•2:^^- 


:l=f 


■^:ji^- 


"^tl^it  grieb  unb  grcub  id^  fa^r  ba^in, 
^^-^  ^n  @Dtte§  SSillen; 

©etroft  ift  mix  mein  ^erg  imb  ©inn, 

©anft  unb  ftifle. 

SKte  @ott  mir  ber^eifecn  £)at, 

2)er  Stob  ift  metn  ©d^laf  toorben. 

2.  S)a§  mac^t  (^xi\iu^,  toa^t'r  ®otte§  ©ol^n, 
2)er  treue  ^eitonb, 

2)en  bu  mid^,  ^err,  l)a\t  fe^en  laff'n; 
Unb  mad}\t  bttannt, 
®afe  er  fei  ba^  Ceb'n  unb  ^etl 
Sn  9^otf)  unb  aud^  im  ©terben. 

3.  2)en  t)aft  bu  aflen  borgcftellt 
gjlit  grofeen  ©naben ; 

3u  feinem  Sfleic^  bie  gangc  9BcU 
^eifeen  laben 

S)urd^  bein  t^eucr  l^eilfam  SBort 
2ln  oflem  Ort  erfd^oUen. 

4.  (5r  tft  ba§  ^eil  unb  felig  Sld^t 
gitr  aUe  ^eiben, 

gu  'rleud^ten,  bie  bid^  !enncn  ntd^t, 

Unb  5U  n)etben; 

eriftbein'§S3olB^frael 

S)er  ^rei§,  (g^r,  greub  unb  SBonne. 


-(5»- 


TN  peace  and  joy  I  now  depart, 
At  God's  disposing; 
For  full  of  comfort  is  my  heart, 

Soft  reposing. 
So  the  Lord  hath  promised  me, 
And  death  is  but  a  slumber. 

2.  'Tis  Christ  that  wrought  this  work 

The  faithful  Saviour        [for  me. 
Whom  thou  hast  made  mine  eyes  to 

By  thy  favor.  [see 

In  him  I  behold  my  Hfe, 
My  help  in  need  and  dying, 

3.  Him  thou  hast  unto  all  set  forth, 

Their  great  salvation, 
And  to  his  kingdom  called  the  earth — 

Every  nation. 
By  thy  dear,  health-giving  Word, 
In  every  land  resounding. 

4.  He  is  the  Health  and  blessed  Light 

Of  lands  benighted, 
By  him  are  they  who  dwell  in  night 

Fed  and  lighted. 
While  his  Israel's  hope  he  is. 
Their  joy,  reward  and  glory. 

Tr.  uncertian. 


63 

n^HIS  is  a  free  rendering  of  the  Song  of  Simeon.  Bunsen  calls  it  a  noble 
swan-song  that  has  comforted  many  princes  and  pious  Christians  in 
their  last  hours.  Prince  Charles,  of  Anhalt,  comforted  himself  by  singing 
it  during  his  last  illness,  in  1561,  and,  although  with  trembling  voice,  he 
sang  with  a  cheerful  heart,  until  his  last  breath.  The  elegance  and 
beauty  of  its  form  and  diction  convinces  some  authorities  that  it  appeared 
after  the  hymn  *' Mitten  wir  im  Leben  sind."  This  is  a  strong,  new  cre- 
ation which  employs  the  Biblical  Song  of  Praise,  simply  as  its  theme.  It 
belongs  to  a  period  antedating  1524,  since  it  could  not  Ukely  have  been 
composed  at  a  time  when  Luther  declares  himself  uninclined  to  make 
poetry.  It  is  believed  to  belong  to  the  time  of  the  Diet  of  Worms. 
Christ  claims  the  world  as  His  kingdom,  although  the  latter  is  not  of  this 
world;  and  the  precious,  salutary  Word  shall  be  heard  in  every  land.  It 
does  not  speak  in  tones  of  conflict,  but  rings  like  a  m.artyr  hymn.  A  strong 
spirit  of  faith  soothes  Luther  at  the  thought  of  death  threatening  him  in 
Worms.  The  joys  of  death  become  apparent  through  the  knowledge  that, 
for  the  redeemed,  it  is  but  a  sleep.  When,  in  later  days,  Luther  gave  ut- 
terance to  this  thought  he  repeatedly  quoted  the  hymn  instead  of  its  cor- 
responding passage  of  Scripture. 

Stanza  1  comforts  the  soul,  on  the  eve  of  death,  with  the  Lord^s 
promise  that  it  is  but  a  sleep;  2  points  to  Jesus  who  effected  and  secured 
eternal  life  for  all  believers;  3  proclaims  the  Word  of  salvation  to  all  the 
earth;  and  4  praises  Jesus  as  Health  and  Light  for  all  benighted  lands. 

The  hymn  appeared  in  Walter's  book,  of  1524,  which  contains  also  the 
beautiful  melody,  ascribed  to  Luther.  Luther  included  it  in  his  collection 
of  ^^Christian  Hymns,  Latin  and  German,  for  burials,"  published  in  Wit- 
tenberg, 1542.  It  was  published  in  South  Germany  by  Speratus,  1526; 
in  the  Rostock  Enchiridion,  1531;  in  a  publication  in  Magdeburg,  1534; 
by  Klug,  1543;  Babst,  1545;  and  Spangenberg,  1545. 


64 


LUTHER  S   HYMNS 


i&omm,  (Sott  ^cftoepfer,  fjeiliget  (gei£;t 
Come,  God  Creator,  Holy  Ghost 

Vent,  Creator  Spiritus 


Translations 


f  C.  U.  3 
IN.  C.  U. 


Title — Hymn  for  Pentecost 

Klug's  book,  1535 


q=t 


-C2_ 


t=t 


m 


:^=^ 


■s*- 


:^ 


-^s- 


t 

omm,  @ott  (Sc^o^jfer,  IfietUger  @eift, 
S5e[u(^  ba§  ^era  ber  SD^enfc^en  bein; 
SD^it  ©naben  fie  fiiU,  toie  bu  toetfet, 
2)afe  fie  bein  ©fd^opf  tJci^Ui  fein. 


m 


2.  ®enn  bu  6ift  ber  Crofter  genannt, 
!3^e§  3trierpd)ften  ®a6e  t^eur: 
(Sin  geiftUc^  (5al6  an  un§  getoanbt, 
Sin  lefienb  33runn,  8ie5  unb  geur. 

3.  3'^^"^  iitt^  ^^i^  '^if^t  an  im  SSerftanb, 
©ib  un§  in§  c^er^  ber  Siebe 

33runft; 
®a§  fc^toacE)  x^\t\\6)  in  un§,  bir  6e!annt, 
(Srt)alt  feft  bein  Shaft  unb  @unft. 

4.  !5)u  bift  mit  ©aben  fiebenfatt 
2)cr  ging'r  an  @otte§  red^ter 

^anb; 
2)e§  S3ater§  2Bort  gibft  bu  gar  batb 
2Jlit  3ii"9Stt  in  aHe  8anb. 

5.  2)e§  ^einbe§  Sift  treib  bon  un§  fern, 
2^en  grieb  fcfiaff  bei  un§  beine  @nab; 
^oSi  hDir  bcin'm  Seiten  folgen  gem, 
Unb  meiben  ber  (Seeten  ©d^ab. 

6.  8c:^r  un§  htn  SSater  !ennen  hjo^l, 
2)a5u  :^eium  Shrift,  feinen  So^n; 
2:)af3  tDir  be§  @(auben§  n)crben  boll, 
S)ic^,  beiber  ©eift,  gu  berfte^n. 

7.  ©ott  93ater  fei  Cob  unb  bem  (Solvit, 
S)er  bon  ben  ^obten  auferftunb ; 
S)em  Crofter  fei  baffelb  get^an, 
^n  (StDigfeit,  aUe  ©tunb. 


/^OME,  God  Creator,  Holy  Ghost, 
^^     And  visit  thou  these  souls  of  men; 
Fill  them  wdth  graces,  as  thou  dost, 
Thy  creatures  make  pure  again. 

2.  For  Comforter  thy  name  we  call. 

Sweet  gift  of  God  most  high  above, 
A  holy  unction  to  us  all 

O  Fount  of  life.  Fire  of  love. 

3.  Our  minds  illumine  and  refresh, 

Deep  in  our  hearts  let  love  bum 

bright;  [flesh; 

Thou  know'st  the  weakness  of  our 

And  strengthen  us  with  thy  might. 

4.  Thou  with  thy  wondrous  sevenfold 

gifts 
The  finger  art  of  God's  right  hand; 
The  Father's  Word  thou  sendest  swift 
On  tongues  of  fire  to  each  land. 

5.  Drive  far  from  us  our  wily  foe; 

Grant  us  thy  blessed  peace  within, 
That  in  thy  footsteps  we  may  go, 
And  shun  the  dark  ways  of  sin. 

6.  Teach  us  the  Father  well  to  know, 

Likewise  his  only  Son,  our  Lord, 
Thyself  to  us  believing  show. 
Spirit  of  both,  aye  adored. 

7.  Praise  to  the  Father,  and  the  Son 

Who  from  the  dead  is  risen  again; 

Praise  to  the  Comforter  be  done 

Both  now  and  ever.     Amen. 

Tr.  uncertain. 


Luther's  hymns  65 

'T^HE  original  text  of  this  hymn  has  been  determined  upon  a  collection 
of  manuscripts,  all  of  which  are  assigned  to  the  eleventh  century: 
three  are  now  in  the  British  Museum;  one  in  Corpus  Christi  College, 
Cambridge;  one  in  the  Bodleian;  one  in  Durham;  and  one  in  the  Vatican 
in  Rome.     The  text,  as  found  in  these  manuscripts,  follows: 

1.  Veni  Creator  Spiritus,  4.  Accende  lumen  sensibus, 
Mentes  tuorum  visita,  Infunde  amorem  cordibus, 
Imple  superna  gratia  Infirma  nostri  corporis 
Quae  Tu  creasti  pectora.  Virtute  firmans  perpeti. 

2.  Qui  Paraclitus  diceris,  5.  Hostem  repellas  longius, 
Donum  Dei  astissimi,  Pacemque  dones  protinus, 
Fons  vivus,  ignis,  charitas,                  Doctore  sic  Te  praevio 
Et  spiritalis  unctio.                              Vitemus  omne  noxium. 

3.  Tu  septiformis  munere,  6.  Per  Te  sciamus,  da,  Patrem, 
Dextrae  Dei  Tu  digitus,  Noscamus  atque  Filium, 
Tu  rite  promisso  Patris,                       Te  utriusque  Spiritum 
Sermone  ditas  guttura.  Credamus  omni  tempore. 

Some  manuscripts  append  a  doxology,  the  most  usual  form  being: 

Sit  laus  Patri  cum  Filio, 
Sancto  simul  Paraclito, 
Nobisque  mittat  Filius 
Charisma  Sancti  Spiritus. 

In  other  manuscripts  a  stanza  appears  between  the  5th  and  6th,  as 
follows : 

Da  gaudiorum  praemia, 
Da  gratiarum  munere, 
Dissolve  litis  vincula, 
Astringe  pacis  foedere. 

This  is  contained  in  the  manuscripts  in  the  Bodleian  and  in  some  of  the 
pre-Reformation  breviary,  e.  g.,  the  Basel  Breviary  of  1493;  but  the  earUer 
manuscripts  do  not  contain  it.  Another  stanza  had  been  inserted,  after 
the  6th,  as  is  shown  in  the  Durham  Hymnal,  but  this  belongs  to  the 
h>Tnn,  "Beata  nobis  gaudia." 

Excepting  the  *'Te  Deum,"  this  hymn  rooted  deeper  into  the  Occiden- 
tal Church  than  any  other,  although  its  authorship  can  not  be  definitely 
determined.      It  has  been  ascribed  to  Charlemagne,  St.  Ambrose,  Greg- 
ory the  Great  and  Rhabanus  Maurus. 
s 


66  Luther's  hymns 

Ekkehard  V.,  monk  of  St.  Gall,  in  his  ''Vita  Sancti  Notkeri,"  written 
about  1220,  says,  "It  is  told  of  the  blessed  man  (Notker)  that,  one  day, 
while  he  walked  through  the  dormitory,  he  hstened  to  the  motion  of  a 
mill,  near  by.  The  wheel  revolved  slowly,  on  account  of  scarcity  of 
water,  and,  groaning,  produced  sounds  almost  akin  to  words.  Hearing 
this,  the  pious  man  straightway  felt  the  impulse  of  the  Spirit  and  wrote 
that  most  beautiful  hymn  in  which  he  gave  utterance  to  the  sweet  melody 
infused  into  his  soul  by  the  Spirit.  Thus  came  the  sequence  on  the  Holy 
Spirit,  'Sancti  Spiritus  adsit  nobis  gratia.'  When  he  had  finished  the 
hymn  he  sent  it  as  a  gift  to  the  Emperor,  Charles  the  Great,  who,  it  is 
believed,  stayed  in  Aachen  at  that  time.  The  godly  Emperor,  however, 
through  the  same  messenger,  sent  to  Notker  a  hymn  in  which  the  same 
Spirit  spoke.     It  was  the  hymn,  'Veni,  Creator  Spiritus.'  " 

But,  let  it  be  remembered  that  Charlemagne  died  in  814  and  Notker 
was  born  some  26  years  later,  or  about  840.  The  Charles,  to  whom  the 
tradition  referred,  may  have  been  Charles  the  Fat  who  paid  special  at- 
tention to  Notker  during  his  visit  to  St.  Gall,  in  883,  during  which  time 
the  interchange  of  courtesies,  between  the  two  men,  may  have  taken 
place.  It  is  not  likely  that  Charles  the  Fat  composed  the  hymn.  Some 
one,  connected  with  the  court  of  the  Emperor  of  Germany,  during  the 
close  of  the  9th  century,  may  have  been  the  author. 

Since  St.  Ambrose  is  the  author  of  most  of  the  important  Latin  hymns, 
Gavanti  ascribed  it  to  him.  The  "Brevirium  Chris tianum"  of  Leipzig, 
1575,  and  some  of  the  earlier  editions  of  his  works,  e.  g.,  Paris,  1614,  con- 
tain it.  The  Benedictine  editors  of  his  works,  however,  do  not  claim  it  for 
him,  nor  are  there  any  evidences  in  the  hymn  that  might  prove  his  author- 
ship.    None  of  the  ancient  writers  ascribe  it  to  him. 

Certain  lines,  worthy  of  consideration,  readily  attribute  it  to  Gregory 
the  Great.  It  harmonizes  with  his  other  works,  first,  in  its  thought  and 
temper;  secondly,  in  its  metre  and  rhythm;  and  thirdly,  in  its  indications 
of  a  knowledge  of  the  Greek  language.  Plausible  as  the  argument  for  his 
authorship  may  be,  it  must  be  remembered  that  if  so  prominent  a  person 
as  Gregory,  in  the  6th  century,  had  written  the  hymn,  the  early  writers 
would  have  noticed  it;  hymnals  of  that  period,  and  later  days,  would  have 
contained  it;  and  such  a  work  as  "De  arte  metrica,"  by  Bede  (d.  735),  who 
speaks  of  many  early  hymns,  would  have  alluded  to  it. 

A  learned  Jesuit,  Christopher  Brower,  included  the  "Veni  Creator"  in 
his  edition  of  "Poemata"  by  Rhabanus,  Mainz,  1617,  but  fails  to  print 
the  text  in  full;  nor  does  he  give  any  definite  information  regarding  the 
manuscript  which  he  used,  which  indicates  that  he  was  not  at  all  certain 


67 

of  his  claim.  The  manuscript,  alluded  to,  contains  29  hymns,  but  of 
these  Prof.  E.  L.  Duemmler,  in  his  critical  edition  of  the  ''Carmina"  of 
Rhabanus,  Berlin,  1884,  saw  fit  to  accept  only  two,  none  of  which  is 
**Veni  Creator."  If  parallels  between  verses  of  the  hymn  and  passages  of 
prose  writings  of  men  were  a  criterion  by  which  to  determine  its  author- 
ship it  might  as  well  have  been  ascribed  to  St.  Augustine. 

The  inevitable  conclusion  to  the  whole  consideration  is  that  its  author- 
ship has  not  been  fixed.  The  earHest  specific  allusion  to  the  h>Tnn,  apart 
from  the  statement  by  Ekkehard,  is  that  it  was  used  at  a  synod  at  Rheims 
in  1049.    The  most  reliable  critics  simply  say  it  arose  during  the  9th  century. 

The  internal  w^orth  of  the  hymn  is  our  chief  concern.  A  Mr.  Benedict, 
in  his  book  on  Mediaeval  Hymns,  1867,  says,  ''Except  as  a  matter  of  Hter- 
ary  history  it  is  of  Httle  importance  w^ho  the  author  is.  The  merit  of 
the  h}Tnn  Kes  in  itself.  Its  comprehensiveness  and  brevity,  its  simpKcity 
and  beauty,  its  gentle  spirit  of  trust  and  devotion,  and  its  earnest  direct- 
ness of  expression,  mark  it  as  the  production  of  a  great  and  practiced 
writer,  and  a  devout  Christian,  studiously  famihar  with  the  Scriptures  and 
theological  truth,  rather  than  a  proud  monarch  and  a  great  soldier." 

During  medieval  days  its  singing  was  dignified  by  the  ringing  of  bells, 
the  burning  of  incense,  wdth  lights,  the  best  vestments,  etc.  Its  use  in 
the  "Hour  Service,"  on  Pentecost  is  traced  back  to  the  10th  century.  It 
is  shown  to  have  been  used,  also,  at  Vespers  and  Lauds,  the  latter  being  a 
service  held  between  the  Matins  and  the  Prime,  or  Chief  Service  of  the 
day.  In  two  Mozarabic  service-books  of  the  11th  century,  now  in  the 
British  Museum,  viz.,  a  Breviary  and  an  Antiphonary,  it  is  assigned  to 
Lauds.  It  is  also  ordered  for  use  at  Lauds,  as  well  as  Vespers,  in  a  Ger- 
man Breviary,  about  1100,  now  in  the  British  Museum;  but  otherwise  its 
use  at  Lauds  seems  to  be  quite  exceptional.  During  the  11th  century  it 
was  employed  as  an  Ordination  Hymn.  It  was  used  also  at  the  consecra- 
tion of  a  priest,  the  laying  of  foundation  stones  of  churches,  consecration 
of  churches,  and  on  other  special  occasions. 

This  model  of  Latin  poetry  was  translated  into  German  before 
Luther's  time,  by  the  monk,  John  of  Salzburg,  toward  the  close  of  the  14th 
century,  and  by  other  scholars;  and,  since  Luther,  it  has  appeared  in  many 
English  translations.  He  transposed  the  third  and  fourth  stanzas,  and, 
in  his  translation,  adhered  most  faithfully  to  the  Latin  original. 

His  hymn  appeared  in  the  Erfurt  Enchiridion,  and  Walter's  book,  of 
1524.  It  was  published  by  Speratus,  1526;  in  the  Rostock  hymnal,  of 
1531 ;  and  by  Klug,  1535.  Luther's  rendering  of  it  was  admitted  into  the 
Romanist  collection  of  John  Leisenritt,  1567. 


68 


LUTHER  S  HYMNS 


Stanza  1  pleads  that  God,  Creator,  who  moved  upon  the  face  of  the 
deep,  when  all  was  made,  might  come  to  bestow  the  gifts  of  his  grace  in 
re-creating  fallen  man,  by  water  and  the  Word;  2  includes  the  Comforter 
(St.  John  15  :  26),  the  Holy  Ghost,  in  the  prayer,  and  asks  for  gifts  (St. 
Luke  11  :  13),  and  holy  unction  (1  John  2  :  20),  from  the  Fount  of  Life 
(St.  John  7  :  38,  4  :  14),  and  the  Fire  of  Love  (St.  Luke  3  :  16) ;  3  assures  us 
that  God  knows  our  weakness  (Ps.  103  :  14)  and  confidently  pleads  for  the 
light  of  understanding  and  the  warmth  of  love ;  4  is  in  the  Latin  original 
text  the  3d  stanza,  and  first  describes  the  Holy  Ghost  and  then  prays  to 
him.  It  solicits  the  sevenfold  gifts  (Is.  11:2)  which  he  grants  unto  his 
own  (1  Cor.  12  : 4,  7)  and  with  which  he  is  the  finger  of  strength  and 
might  (St.  Luke,  11  :  20,  Deut.  9  :  10),  and  it  announces  the  spreading  of 
the  Father's  Word,  on  tongues  of  fire,  in  every  land  (Acts  2  :  8) ;  5  and  6 
repeat  petitions  for  knowledge,  confidence  and  peace;  and  7  is  a  doxology. 


Translations 


iSun  bitten  toir  ben  fjeiligen  (§ti^t 
Now  pray  we  all  God,  the  Comiorter 

^    •     •        ^^  Title — Hymn  for  Pentecost 


10 


John  Walter's  book,  1524 


t==l: 


-s^- 


■^i&- 


i 


A -I [ 


=l==1: 


T=^ 


-<S>— : — • — i&- 


i 


3 


I 


=1: 


-^- 


w 


-^»- 


^un  bitten  h)ir  h^n  t)etigen  ©eift 
'^^  Urn  ben  red^ten  ©lauben  allermetft, 
S)afe  cr  un§  be^iite  an  imfctm 

(Siibe, 
SSenii  iDtr  l)etmfa^rn  au§  bie[em  ©lenbe. 
S!l)rteteifon. 

2.  T)U  lt>ert^e§  2id)t,  gift  un§  bcmcn(5^cln; 
2et)r  un§  :^cium  (S'£)ti[t  fennen  allein; 
S)a6  ft)ir  an  i^m  bleiben,  bem  treuen 

^eitanb, 
!Der  un§  hxadititiat  gum  red^ten  SSoterlanb. 
^^rielei[on. 


'^'OW  pray  we  all  God,  the  Comforter, 

^      Into  every  heart  true  faith  to  pour 

And  that  he  defend  us,  Till  death 

here  end  us,  [of  sorrow. 

When  for  heaven  we  leave  this  world 

Have  mercy,  Lord. 

2.  Shine  into  us,  O  most  holy  Light, 
That  we  Jesus  Christ  may  know  aright ; 
Stayed   on    him    forever.    Our   only 

Saviour,  [brought  us. 

Who  to  our  true  home  again  hath 

Have  mercy.  Lord. 


69 

3.  S)u  fiifee  Bzh\  fc^en!  un§  beine  ®un[t;         3.  Spirit  of  love,  now  our  spirits  bless; 
Cafe  un§  cmpfinben  bcr  Sietie  Them  with   thy  own   heavenly  fire 

Srunft;  possess;                        [lighting, 

2)a§n3irun»  t)on$er5eneinanber  Men;  That  in  heart  uniting,  In  peace  de- 

Unb  im  grieben  auf  einem  ©inn  bleti)en.  We  may  henceforth  all  be  one  in  spirit, 

S^^rieleifon.  Have  mercy.  Lord. 

4.  !Du  t)od^fter  Slrofter  in  allcr  S^otl^,  4.  Our  highest  comfort  in  all  distress! 
^ilf,  baB  tDtr  nic^t  furrf)ten  ©c^anb  nod^  O  let  naught  ^sith  fear  our  hearts 

%ob;  oppress; 

S)afe  in  unB  bte  ©innen  nidf)t  ber^-  Give  us  strength  unfaiHng  O'er  fear 

SOficn,  prevailing,                [whelm  us. 

2Bennbergetnbtoirbba^Ce:bcnt)Cr!Iagen.  When  th'accusing  foe  would  over- 

^^^rieleifon.  Have  mercy,  Lord. 

Tr.  A.  Russell. 

T^HIS  Pentecostal  Hymn  was  written  some  time  during  the  12  th  cen- 
tury. A  Franciscan  monk  of  Regensburg,  Berthold  (d.  1272),  who 
was  probably  the  most  famous  preacher  in  Southern  Germany,  during 
the  latter  half  of  the  13th  century,  introduced  it  to  the  people  through  his 
sermons  and  services.  His  manuscript  sermon  is  now  in  the  Kbrary  in 
Heidelberg.  Another  version  of  it,  also  of  five  lines,  is  found  in  the 
"Psalter  Ecclesiasticus,"  in  Mainz,  1550.  It  is  one  of  very  few  examples 
of  popular  vernacular  hymns  used  in  the  Church  during  pre-Reformation 
times.  When  the  churches  grew  too  small  to  accommodate  the  thou- 
sands, who  came  to  hear  ''Brother  Berthold,"  pulpits  were  constructed 
for  him,  in  the  branches  of  trees,  from  which  he  preached  and  exhorted  the 
people  to  sing.  On  a  certain  occasion  he  said,  "  ^Nun  bitten  w^r  den  heil- 
igen  Geist'  is  indeed  a  valuable  hymn,  wherefore  it  should  please  you  the 
more  to  sing  it,  and  that  attentively  and  with  devout  spirits,  unto  God. 
This  hymn  is  a  good  and  profitable  invention,  and  he  was  a  wise  man  who 
wrote  it."  The  form  in  which  Berthold  presented  it  to  the  people  is  as 
follows: 

Nu  bit  en  wir  den  heiligen  geist 

umb  den  rechten  glouben  allermeist, 

Daz  er  uns  behueete  an  unserem  ende, 

so  wir  heira  suln  varn  uz  disem  ellende. 
Kyrieleis. 

According  to  Koch,  it  was  sung  by  the  people,  at  Whitsuntide,  "dur- 
ing the  ceremony  in  which  a  wooden  dove  was  lowered,  by  a  cord,  from  the 
roof  of  the  chancel,  or  a  live  pigeon  was  let  fly  down." 

Luther  accepted  this  stanza  from  the  sacred  popular  song  which,  in 
his  "Formula  Missae,"  1523,  he  pronounced  elegant  and  beautiful,  and 


70 

added  three  stanzas.  He  intended  it  to  be  used  as  a  post-communion 
hymn. 

It  is  a  prayer  to  the  Holy  Ghost  for  his  coming  and  for  the  grace  of 
light,  love  and  comfort  of  God.  It  speaks  of  the  Holy  Spirit  in  contrast 
with  the  spirit  of  sinners;  the  Holy  Light  contrasted  with  darkness;  the 
Spirit  of  Love  as  over  against  wrath,  hatred  and  envy;  and  the  Comforter 
contrasted  with  the  terrors  of  Satan,  death  and  hell.  Stanza  1  pleads  for 
the  influence  of  the  Spirit,  in  life  and  death ;  2  asks  for  light  and  under- 
standing; 3  implores  love  and  its  fire;  and  4  a  firm  and  immovable  heart. 
Spangenberg  says,  "There  must  be  a  quiet  and  peaceable  brotherly  love, 
a  constant  sighing  to  God,  and  a  new  life.  Where  this  is  acquired,  ac- 
cording to  his  promise,  God  will  give  the  Holy  Ghost  with  all  his  graces 
and  gifts  and,  finally,  eternal  life." 

The  hymn  has  been  generally  appointed  for  Whitsuntide,  but  has  also 
been  used,  in  the  Lutheran  Church,  as  a  hymn  for  communion,  at  the 
ordination  of  ministers,  or,  as  in  the  Strassburg  Kirchen  Ampt,  1526, 
before  the  sermon. 

It  appeared  in  Walter's  book,  and  the  Wittenberg  Hymn  Book,  1524. 
In  1542,  Luther  included  it  among  his  Funeral  Hymns.  It  was  published 
by  Speratus  and  in  Rostock. 

In  Mecklenburg  at  Strassburg,  and  other  localities,  it  soon  became 
the  standard  hymn  before  the  sermon.  A  prominent  hymnologist  said  it 
was  most  appropriate  to  sing  it  after  the  Lord's  Prayer,  or  as  an  invoca- 
tion, in  the  House  of  God,  or  as  a  petition  for  the  proper  appreciation  and 
understanding  of  the  Word. 

\\/'HEN,  in  1560,  the  persecution  of  Protestants  broke  out,  in  France, 
and  many  people  were  tortured  in  a  most  heartless  manner,  it  was  a 
common  thing  to  hear  the  martyrs,  on  their  way  to  execution,  sing  this 
hymn  as  their  swan-song.  In  many  places,  especially  in  Leipzig,  even 
criminals  sang  "Nun  bitten  wir  den  heiligen  Geist"  while  paying  the  ex- 
treme penalty.  Through  this  the  hymn  acquired  the  title  of  "The  Hymn 
of  poor  Sinners." 

JOHN  REINHARD  SCHEER,  a  merchant  in  Schmalkald,  was  so  ani- 
mated by  it  that  he  sang  the  hymn,  with  his  family,  in  their  daily  de- 
votions. In  connection  with  the  third  stanza  he  remarked  repeatedly, 
"Oh  that  we  might  love  one  another  most  heartily  and  live  in  peace  and 
unity  of  spirit." 


71 

'T^HE  following  interesting  account  of  the  use  of  the  hymn  was  given  by- 
pastor  Heiberg:  ''Early  in  the  16th  century,  on  the  day  preceding  the 
festival  of  the  Annunciation  of  the  Virgin,  about  eighty  fishermen  were  on 
the  ice,  between  Copenhagen  and  the  island  of  Saltholm,  catching  eels, 
when  the  ice  gave  way  and  broke  up.  They  were  borne  along  by  the 
current,  parted  from  each  other  and,  finally,  thirty  of  them  were  drowned. 
While  still  near  each  other,  one  of  them,  Hans  Vensen,  who  had  been  a 
pupil  of  bishop  Palladius,  called  out  to  the  rest,  'Dear  Brethren,  let  us  not 
fall  into  despair  because  we  shall  lose  our  lives;  but  let  us  prove  by  our  con- 
duct, that  we  have  been  hearers  of  God's  Word';  whereupon  they  sang 
'Nun  bitten  wir  den  heiKgen  Geist'  and  following  it,  the  hymn  for  the 
dying,  'Mit  Fried  und  Freud  ich  fahr  dahin,'  (Luther's  metrical  version 
of  the  'Nunc  Dimittis').  When  they  had  concluded  singing,  they  fell 
upon  their  knees  and  prayed  that  Gk)d  might  grant  them  a  happy  death." 


72 


LUTHER  S  HYMNS 


Translations— 2 


ilomm,  fteiliger  i^ti^U  5|erre  <gott 
Come,  Holy  Spirit,  Lord  our  God 

Veni,  Sancte  Spiritus 


Title — Hymn  for  Pentecost 

Erfurt  Enchiridion,  1524 


I 


pB^EgE^g^E^^ 


-2S)      jg      f=^ 


V*      •     fg- 


t=tl=t 


-■g— g*- 


q==:t 


=iflv^^- 


1=i: 


,— <g 


i 


1 1 1 1 


t^ 


2^^ 


-25^ 


^-^-e 


-<g— s^- 


tr— r-r: 


r— t-^-^- 


-«g- 


-<g— gH 


i 


T=^ 


:^^: 


3J^Ff- 


;22 — ^ 


-^— «»- 


i^— zi: 


t=i: 


l=t 


-<^       r^j     1 


t=i: 


'"^-•1-^^ 


■tgomnt,  l^eiliger  @eift,  ^erre  @ott! 

'^(StfuU  mit  beiner  ©naben  ©iit 
S)einer  ©laubigen^era,  931ut^  unb  (Sinn. 
®ein'  firunftig'  Cie6'  entgiinb  in 

i^n'n. 
O  ^err!  burc^  beine§  8id^te§  ©lanj 
3u  bem  ©laufien  berfantmett  \)a\i 
®a§  3Solf  au§  aUer  SSelt  Bungen. 
!Do§  fei  bir,  ^err,  §u  Cob  gefungen. 
^aUeluja,  -.^aUehija. 

2,  S)u  {)eiIiGe§  Cid^t,  ebler 

^ort! 
Safe  un§  leu^ten  bc§  8eBen§  ^l^ort, 
Unb  lef)re  nn§  @ott  red^t  erf cnnen, 
S3on  ^er^en  S3ater  i'^n  nennen. 
O  ^err  I  fie^iit  bor  frember 

8el)r, 
®afe  tcir  nic^t  5D^eifter  fud^en  mt^x 
'Jbtxm  ^t\vim  mit  red)tem  ©laubcn 
Unb  i^m  au§  gcinaer  SJlad^t  bertrauen . 

^aUeluJa,  ^gtalleluia. 


r^OME,  Holy  Spirit,  God  and  Lord! 

^^     Be  all  Thy  graces  now  outpoured 
On  the  behever's  mind  and  soul 
To  strengthen,  save,   and  make  us 

whole. 
Lord,  by  the  brightness  of  Thy  light, 
Thou  in  the  faith  dost  men  unite 
Of  every  land  and  every  tongue: 
This  to  Thy  praise,  O  Lord,  be  sung. 
Hallelujah!  Hallelujah! 

2.  Thou    strong    Defence,    Thou    holy 

Light, 
Teach  us  to  know  our  God  aright. 
And  call  Him  Father  from  the  heart: 
The  Word  of  Hfe  and  truth  impart:- 
That    we    may    love    not    doctrines 

strange. 
Nor  e'er  to  other  teachers  range, 
But  Jesus  for  our  Master  own, 
And  put  our  trust  in  Him  alone. 
HaUelujah!  Hallelujah! 


Luther's  hymns 


73 


3.  2)u  ^eilige  Siimft,  filler  Zxo% 
^JZun  ^tlf  un§  frof)li(^  imb  getro^t 
^n  betnem  2)ten[t  &e[tdubig  bletben; 
S)te  Stritbfal  un§  nidit  abtretben. 
O  c^err !  burc^  bein'  ^-aft  un§  bcreit', 
Unb  ftar!  be§  glct[d)e§  23lobiofett, 
2)ofe  tDir  f)ier  rttterlirf)  rinoen, 
S)urc^  Slob  imb  Seben  au  btr 
bringeu. 
^afleluja,  ^aHeluja. 


Thou  sacred  Ardor,  Comfort  sweet, 
Help  us  to  wait  with  ready  feet 
And  willing  heart  at  Thy  command, 
Nor  trial  fright  us  from  Thy  band. 
Lord,  make  us  ready  with  Thy  powers : 
Strengthen  the  flesh  in  weaker  hours, 
That  as  good  warriors  we  may  force 
Through  life  and  death  to  Thee  our 
course! 

Hallelujah!  Hallelujah! 

Tr.  Catherine  Winkworth,  1855,  a. 


'T^HE  first  stanza  of  this  hymn  is  a  translation  of  an  antiphone,  not 
earlier  than  the  11th  century,  which  reads: 

Veni,  sancte  spiritus, 
reple  tuorum  corda  fideKum 
et  tui  amoris  in  eis  ignem  ascende, 
Qui  per  diversitatem  linguarum  cunctarum 
gentes  in  unitatem  fidei  congregastis. 
Halleluia,  Halleluia. 

Come,  Holy  Spirit, 
fill  the  hearts  of  thy  believing  people, 
and  kindle  in  them  the  fire  of  thy  love^ 
thou  who  through  manifold  tongues 
hast  gathered  the  peoples  of  all  the  earth 
into  unity  of  the  faith. 

Hallelujah!  HaUelujah! 


These  hnes  are  ascribed  to  King  Robert,  of  France,  A.  D.  991,  and  are 
traced  to  a  service-book  of  the  Church  in  Basel,  1514.  Baeuroker  says 
the  Latin  antiphone  is  still  sung  in  many  dioceses,  in  Germany,  on  Sun- 
days, before  High  Mass,  and  cites  the  German,  as  in  the  ''Crailsheim 
Schul-Ordnung,''  of  1480.  Luther  adopted  the  old  German  stanza,  with 
changes,  and  added  two  original  stanzas.  While  preparing  the  hymn 
for  use  in  the  Church,  he  remarked  that  the  Holy  Ghost  inspired  it,  both 
as  to  its  words  and  melody.  When  we  contemplate  the  master  mind  of 
Luther,  in  its  ampKfication,  we  may  agree  that  the  Holy  Spirit  filled  the 
soul  of  his  servant  with  light  that  aided  him  to  improve  it. 

The  hymn  is  an  animated  prayer  for  the  coming  of  the  Holy  Ghost. 
He  shall  be  the  inhabitant  of  the  souls  of  men,  and  shall  blow,  gently,  over 
the  nations.  Stanza  1  shows  that  the  Holy  Ghost  must  be  glorified 
among  the  nations  as  the  Lord  who  holds  them  together,  through  the 
effulgence  of  His  hght;  2  the  light  of  the  Holy  Ghost  is  seen  and  known, 


74  LUTHER  S  HYMNS 

through  the  Word,  and  is  implored  to  teach  men  to  seek  their  salvation 
through  the  knowledge  of  God,  and  to  fix  their  hopes  on  Christ  alone; 
and  3  the  Holy  Spirit,  as  a  sacred  flame  and  heavenly  fire,  guides  men,  also 
when  they  are  under  the  cross,  to  a  lasting  service  of  God,  and  to  victory. 
According  to  Klippgen,  the  character  of  the  hymn  shows  that  it 
originated  during  the  time  of  the  Diet  of  Worms.  It  appeared  in  the 
Erfurt  Enchiridion,  and  Walter's  book,  of  1524  and  1525.  It  was  pub- 
lished by  Klug  and  other  authors. 

T  EONARD  KAYSER,  a  Roman  priest,  was  burned  alive,  in  Passau, 
Aug.  16, 1527,  on  account  of  his  Evangelical  preaching.  He  implored 
the  multitude,  standing  by,  to  assist  him  in  his  prayers  for  all  his  foes,  and 
that  he  might  remain  steadfast  in  the  faith,  even  unto  death.  While  his 
enemies  bound  him,  hand  and  foot,  upon  the  funeral  pile,  he  begged  the 
multitude  to  sing:  ^'Komm,  heihger  Geist,  Herre  Gott."  Speaking  of 
this  pious  man,  and  his  horrible  death,  Luther  said,  "O  Lord  God,  that  I 
might  be  worthy  of  such  a  confession  and  death.  What  am  I?  What  am 
I  doing?    How  ashamed  I  feel,  when  I  read  this  account,  that  I  have  not 

been  worthy  of  having  suffered  a  similar  fate  long  since. Well,  if  it 

shall  be  so,  then  let  it  be!    Thy  will  be  done." 

TOURING  the  Peasants'  war  the  hymn  was  sung  by  the  fanatics,  in  the 
bloody  battle  of  Frankenhausen,  in  1526.  Thomas  Muenzer,  their 
leader  against  the  Landgrave,  Philip  of  Hesse,  predicted  a  miraculous 
help  of  God,  whereupon  the  ignorant  peasants  neither  retreated  nor  sur- 
rendered, but  sang  this  Pentecostal  hymn  until  fifty  thousand  of  them 
were  slain. 

r^AROLINE,  daughter  of  Matthias  Claudius,  and  wife  of  Frederick 
Perthes,  a  book-merchant  in  Hamburg,  sent  birthday  greetings,  Jan. 
16,  1821,  to  her  son,  Matthias,  a  student  in  the  university,  saying, 
*'My  most  earnest  birthday  wish  and  prayer  for  you  is: 

'Thou  strong  defence,  thou  holy  light, 
Teach  me  to  know  our  God  aright, 
And  call  him  Father  from  the  heart: 
The  Word  of  Life  and  Truth  impart, 
That  he  may  love  not  doctrines  strange, 
Nor  e'er  to  other  teachers  range; 
But  Jesus  for  his  Master  own, 
And  put  his  trust  in  him  alone.' 

My  beloved  child,  may  God  fulfil  this  prayer  to  you!" 


Luther's  hymns 


75 


Translations 


i^un  freut  eucfj,  lieben  Cfirisften  g'mein 

Dear  Christians,  one  and  all  rejoice 

(C  U  2 

-l'     '  Title — For  Reformation  and  Advent 


q=i 


Wittenberg,  1535 
4- 


^ 


?=f 


jtzii: 


I 


i 


1     I     I 


:f=^ 


t=t 


-G^- 


-•—Zir 


^un  freut  cud^,  lieben  (E^riften  g'mctn, 
^^  Unb  tafet  un§  frol)lid^  fpringen, 
2)afe  tnir  eetroft  unb  all  in  ein 
5Kit  Cuft  unb  Siebe  fingen : 
2Ba§  @ott  anunS  fietoenbet  i)at 
Unb  [eine  fiifee  SBunbert^at; 
®ar  t^eu'r  l)at  er§  eitoxJifien. 


D 


EAR  Christians,  one  and  all  rejoice, 

With  exultation  springing, 
And  with  united  heart  and  voice 

And  holy  rapture  singing. 
Proclaim  the  wonders  God  hath  done, 
How  his  right  arm  the  victory  won; 
Right  dearly  it  hath  cost  him. 


2.  S)em  %m\z\  \^  gefangen  tag, 
:gm  %Xib  toar  id^  berloren; 
ajiein  (Siinb  mid)  qudlte  9^ad^t  unb  2^9, 
2)arin  id)  iDor  geboten. 
Sd^  fiel  aud^  immer  tiefer  brein, 
(£§  tear  !ein  @ut§  am  8eben  metn; 
S)ie  ©iinb  ^att'  mid^  befeffen. 


2. 


Fast  bound  in  Satan's  chains  I  lay, 

Death  brooded  darkly  o'er  me; 
Sin  was  my  torment  night  and  day, 

Therein  my  mother  bore  me, 
Deeper  and  deeper  still  I  fell, 
Life  was  become  a  living  hell, 
So  firmly  sin  possessed  me. 


2Rein  gute  SOSerl  bie  gatten  nid^t, 
©§  njar  mit  i^n'n  berborben; 
S)er  frei  2BUI  ^affet  ®ott§  ©etic^t, 
©r  toar  gum  ©ut'n  etftorben. 
2)ie  Slngft  mid^  gu  bergtoeifetn  trieb 
2)afe  nic^t§  benn  ©terben  bei  mtr  blieb, 
8ur  pollen  mufet  id^  finlen. 


3.  My    good    works    could    avail    me 
naught, 
For  they  with  sin  were  stained; 
Free-will    against    God's    judgment 
fought, 
And  dead  to  good  remained. 
Grief  drove  me  to  despair,  and  I 
Had  nothing  left  me  but  to  die, 
To  hell  I  fast  was  sinking. 


4.  2)a  |ammert§  ®ott  in  ©toigfcit 
2Rein  (Slenb  ub ermafeen : 
@r  t^Oi&fi  an  fein  33annt)ergiglcit 
@r  toollt  mir  J)e(fen  laffen. 
6t  hjanbt  gu  mir  \^o,^  33ater!^erg, 
@§  toar  bei  tf)m  furtoa^^r  lein  (Sd^erj; 
(5r  Uefe  fein  33efte§  f often. 


4.  God  saw,  in  his  eternal  grace, 
My  sorrow  out  of  measure; 
He  thought  upon  his  tenderness — 

To  save  was  his  good  pleasure. 
He  turned  to  me  a  Father's  heart — 
Not  small  the  cost — to  heal  my  smart 
He  gave  his  best  and  dearest. 


76 


LUTHER'S  HYMNS 


5.  ®r  fprad^  gu  fetnem  tieben  (So'^n; 

■Die  3ett  tft  l^ie  gu  'rfiarnten ; 
ga{)r  ^in,  mein§  ^ergeng  toert^e  Shon 
Unb  fei  ba§  ^ei(  bem  Slmten, 
Unb  i)ilf  it)m  au§  ber  ©iinben  9^ot^, 
(grtourg  far  i^n  ben  bittern  Xob 
Unb  tafe  i^n  mit  bir  leben. 

6.  S)er  (Sol^n  bem  SSatct  g'^orfam  toorb, 
@r  !am  gu  mir  auf  @rben, 

9Son  einer  ^ungfrau  rein  unb  jart, 
®r  follt  mein  33ruber  toerben. 
@ar  l^eimlid^  fii^rt  er  fein  @ert)att, 
@r  ging  in  meiner  ormen  ©'ftalt; 
2)en  ^eufet  tooltt  er  fangen. 

7.  ©r  f^rad^  gu  mir:  l)att  bid)  an  miri^ 
@§  [oU  bir  Ici^t  gelingen. 

^d\  geb  m\i)  felber  gan^  f iir  bid^, 
®a  toitt  ic^  fiir  bid^  ringen. 
©enn  id^  bin  bein  unb  bu  bift  mein 
Unb  mo  id^  bleib,  ba  foUft  bu  fein, 
Un^  foU  ber  Setnb  nid^t  fd^eiben. 

8.  SBergiefeen  toirb  er  mir  mein  95lut 
S)aau  mein  Ceben  rauben: 

S)a§  teib  id^  alle§  bir  gu  gut, 
S)a§  t)alt  mit  feftem  ©lauben. 
S)en  Stob  berfd^Iingt  ba§  Ceben  mein, 
a?lein  Unfd^ulb  tragt  bie  (Siinbe  bein, 
S)a  bift  bu  felig  toorben. 

9.  ©en  ^immel  gu  bem  S3ater  mein 
ga^r  id^  bon  bie[em  Ceben; 

2)a  toill  id^  fein  ber  9Jieifter  bein, 
2)en  ©eift  toillid^  bir  geben, 
S)er  bidfi  in  Striibnife  troften  foil 
Unb  Iel)ren  mid^  er!ennen  iuo^l 
Unb  in  ber  SSa^r^eit  (eiten. 

10.2Sa§  id^  get^an  t)ab  unb  gele^rt, 
5Da§  follft  bu  t^un  unb  lel^ren/ 
2)amit  ba§  gf^eicf)  ®ott§  toerb  gemel^rt 
3u  8ob  unb  feinen  g^ren. 
Unb  ^iit  bidt)  bor  ber  SJJenfd^en  ©'fat}, 
2)abon  berbirbt  ber  eble  (Sdja^j, 
2)o§  lafe  id^  bir  gur  lel^te. 


5.  He  spake  to  his  beloved  Son: 

'Tis  time  to  take  compassion; 
Then  go,  bright  jewel  of  my  crown, 

And  bring  to  man  salvation; 
From  sin  and  sorrow  set  him  free, 
Slay  bitter  death  for  him,  that  he 

May  live  with  thee  forever. 

6.  The  Son  delighted  to  obey, 

And  born  of  Virgin  mother, 
Awhile  on  this  low  earth  did  stay 

That  he  might  be  my  brother. 
His  mighty  power  he  hidden  bore, 
A  servant's  form  like  mine  he  wore, 

To  bind  the  devil  captive. 

7.  To  me  he  spake:   cling  fast  to  me, 

Thou'lt  win  a  triumph  worthy; 
I  wholly  give  myself  for  thee; 

I  strive  and  wrestle  for  thee; 
For  I  am  thine,  thou  mine  also; 
And  where  I  am  thou  art.     The  foe 

Shall  never  more  divide  us. 

8.  For  he  shall  shed  my  precious  blood, 

Me  of  my  life  bereaving; 
All  this  I  suffer  for  thy  good; 

Be  steadfast  and  believing. 
My  life  from  death  the  day  shall  win, 
My  righteousness  shall  bear  thy  sin, 

So  art  thou  blest  forever. 

9.  Now  to  my  Father  I  depart, 

From  earth  to  heaven  ascending; 
Thence  heavenly  wisdom  to  impart, 

The  Holy  Spirit  sending. 
He  shall  in  trouble  comfort  thee. 
Teach  thee  to  know  and  follow  me. 
And  to  the  truth  conduct  thee. 

10.  What  I  have  done  and  taught,  do 
To  do  and  teach  endeavor;  [thou 
So  shall  my  kingdom  flourish  now. 

And  God  be  praised  forever. 
Take  heed  lest  men  with  base  alloy 
The  heavenly  treasure  should  de- 
stroy. 
This  counsel  I  bequeath  thee. 


77 

^HE  Erfurt  Enchiridion,  1524,  and  Hans  Hergott,  Nurenberg,  1525, 
employ  the  melody,  ''Es  ist  das  Heil  uns  konamen  her." 
Soon  after  the  hymn  that  celebrated  the  first  Evangelical  martyrs,  and 
glorified  God  for  the  restoration  of  his  Word,  and  its  declaration  through 
many  witnesses,  Luther  was  moved  to  sing  the  praises  of  divine  grace 
by  which  he  was  enabled  to  receive  the  Gospel  as  directly  from  God.  He 
describes,  in  tones  of  great  animation,  how  Christ  freed  him  from  anxiety 
caused  by  his  efforts  to  rid  himself  of  the  doctrine  of  meritorious  works. 
He  describes  the  progress  he  made  along  these  Hnes,  from  his  entry  into 
the  monastery  to  the  beginning  of  his  activity  in  Wittenberg.  In  a  letter, 
dated  April,  1516,  he  ad\dsed  Spenlein  to  confess  Christ,  maintaining  that 
he  could  find  peace  only  in  Christ,  and  in  utter  despair  of  his  own  strength. 
The  hymn  closes  with  the  thought  of  his  sermon  to  his  friend,  Mascov  of 
Leitzkau.  This,  Klippgen  asserts,  places  the  hymn  somewhere  between 
1513  and  1516.  It  does  not  seem  to  possess  the  vigor  of  the  hymns  be- 
longing to  the  days  of  the  Diet  of  Worms. 

The  childlike  fervor  and  clear  conception  of  the  hymn  made  it  a  model 
for  Protestant  Church-song.  Luther  wrote  it  without  any  special  aim, 
regarding  its  use  in  the  services  of  the  Church,  which  is  a  characteristic 
common  to  many  of  his  hymns.  He  sets  forth  a  simple  description  of  his 
experiences,  telling  how  he  sought  God,  and  God,  in  compassion,  founc 
him.  But,  while  we  read  the  hymn,  we  are  actually  perusing  the  life- 
story  of  our  own  hearts.  He  represents  the  elements  of  the  human,  or  at 
least  that  of  the  Christian,  life  in  a  real  personal  form.  The  earliest  hymn 
books  which  adopted  it,  in  their  titles,  attributed  to  Luther  its  signifi- 
cance and  value  as  a  hymn  intended  for  Protestant  Christianity.  It  is 
Luther's  first  congregational  h>Tnn,  and  appeared  as  a  companion  to  his 
"Ein  neues  Lied." 

His  renowned  successor  in  hymnology,  Paul  Gerhardt,  greatly  ad- 
mired this  hymn.  Its  joyous  tone  was  not  distasteful  to  him,  as  is  shown 
by  his  own  'Troelich  soU  mein  Herze  springen"  and  ''Mein  Herze  geht 
in  springen,"  which  is  the  last  stanza  of  'Tst  Gott  fuer  mich."  His 
remarkable  hymn,  "Ein  Laemmlein  geht  und  traegt  die  Schuld,"  is  an 
exceedingly  fine  amplification  of  stanzas,  four  to  six.  When  we  ascribe 
the  melody  given  in  the  ''Etlich  christHch  Lieder,"  1524,  and  reproduced 
in  Endlich's  Choral  Book,  No.  96,  to  Luther,  we  are  certainly  not  pre- 
suming too  much. 

Almost  every  line  of  the  ten  stanzas  of  this  hymn  can  be  supported 
by  quotations  from  the  Scriptures.  In  the  title  of  the  ''Eight  Songs," 
in  which  ''Nun  freut  euch,  lieben  Christen  g'mein"  stands  first,  we  read 


78 

"A  Christian  Hymn,  by  Dr.  Martin  Luther,  touching  the  unspeakable 
grace  of  God,  and  true  faith."  Hymn  books  of  later  dates  contain  the  fol- 
lowing titles:  ''Of  the  Order  of  Salvation  and  the  Work  of  Redemption"; 
"The  noble  achievements  of  the  Redemption  through  Christ";  and  "A 
Hymn  of  Thanksgiving  for  the  great  Blessing  which  God,  in  Christ,  has 
bestowed  upon  us."  Luther  himself  says,  ''That  we  may  boast,  as  Moses 
doth,  in  his  song,  Ex.  15." 

Stanza  1  praises  God  for  the  victory  vouchsafed  through  his  Son;  2- 
3  describe  man  in  his  sinful  and  lost  estate ;  4-5  God's  wonderful  compas- 
sion, for  the  fallen,  and  the  gift  of  his  Son,  as  Redeemer;  6-8  the  work  of 
redemption;  9-10  the  sending  of  the  Holy  Ghost  whose  influence  is  at- 
tended with  benefit. 

npHAT  this  hymn  appeared  in  many  pubhcations  and  wielded  an  ex- 
tended influence  is  self-evident.  Tileman  Hesshusius,  in  his  preface 
to  Johannes  Magdeburg's  Psalter,  1565,  says,  "I  do  not  doubt  that, 
through  this  one  hymn  of  Luther,  many  hundreds  of  Christians  who, 
formerly,  could  not  endure  the  name  of  Luther,  have  been  brought  to  the 
true  faith;  but  the  noble,  precious  words  of  the  hymn  have  won  their 
hearts,  so  that  they  are  forced  to  embrace  the  truth;  and  therefore,  in  my 
opinion,  his  hymns  have  furthered  the  spread  of  the  Gospel  not  a  Httle." 

"\\/'HEN,  in  1557,  a  number  of  princes,  assembled  in  Frankfort,  desired 
Protestant  services,  in  the  church  of  St.  Bartholomew,  a  large  con- 
gregation assembled,  but  the  pulpit  was  occupied  by  a  Roman  priest  who 
preached  his  own  pecuHar  doctrine.  After  Hstening,  for  a  while,  in  silent 
indignation,  the  congregation  arose  and  began  to  sing  this  hymn.  They 
fairly  sang  the  priest  out  of  church.  Its  tune  is  known,  in  England,  as 
"Luther's  Hymn"  and,  according  to  tradition,  Luther  made  memoranda 
of  it,  from  the  singing  of  a  traveling  artisan. 

QYRLVKUS  SPANGENBERG,  a  pupil  of  Luther,  in  his  "Cithara 
Lutheri"  relates  a  remarkable  incident,  antedating  1569.  As  chief 
marshal  of  IVIansfeld,  Spangenberg  made  many  official  trips.  On  a  cer- 
tain occasion  he  stopped  to  pass  the  night  in  a  cloister.  At  the  close  of 
the  evening  meal  a  young  scribe  began  to  ridicule  Luther's  hymns,  and 
pronounced  "Nun  freut  euch"  a  Babel  and  a  Devil's  hymn.  The  cheerful 
tone  of  the  hymn  offended  the  super-pious  priests  who  condemned  it  as 
an  unstable  and  dissolute  song.  Spangenberg  warned  the  impudent 
youth  against  blaspheming  God,  whereupon  the  latter  exclaimed  that  he 


79 

wished  God  would  punish  him  if  his  assertions  were  not  true.  Spangen- 
berg  rephed,  ''Very  well  then,  God  is  not  mocked;  within  a  year  he  will 
reveal  himself  in  terror  and  will  not  keep  silent  regarding  this  bold  blas- 
phemy." The  young  man's  reply  was  a  sarcastic  grin.  But,  within  a  few 
months,  the  scribe  became  distracted  in  mind.  He  went  about  scream- 
ing, and  finally  plunged  into  a  well.  Friends  lifted  the  unfortunate  youth 
from  the  depth  of  his  misery,  pious  Christians  prayed  for  him,  and  God 
showed  him  mercy  by  restoring  him  to  his  senses.  The  young  man  now 
confessed  his  sins  and  entered  upon  a  new  life.  With  great  ardor  he 
sang,  daily,  the  once  despised  "Nun  freut  euch  lieben  Christen  g'mein.'' 

npHE  aged  Bartholomew  Rieseberg,  also  a  student  of  Luther,  lay  upon 
his  death-bed,  in  1566.  He  endured  many  hardships,  on  account  of 
the  Gospel.  When  the  plague  broke  out,  in  his  parish,  in  Brandenburg,  he 
attended  to  his  pastoral  duties  with  all  fidelity.  Finally,  the  dreaded  dis- 
ease overcame  him  also.  His  associates  stood  by  his  bed-side  and  prayed 
to  God  that  His  holy  will  might  be  done.  They  asked  him  how  they 
should  arrange  and  conduct  the  affairs  of  the  church  after  his  decease. 
Rieseberg  rephed,  "Let  every  thing  be  done  according  to  the  Word  of 
God  and  the  teachings  of  our  dear  Luther.''  Then  he  recited  the  9th 
and  10th  stanzas  of  this  hymn.     He  repeated  the  closing  lines: 

Take  heed  lest  men  with  base  alloy 
The  heavenly  treasure  should  destroy, 

and  added,  "This  is  a  brief  and  good  Church-discipline." 


8o 


LUTHER  S  HYMNS 


Translations 


i 


(gott  bet  "^ater  tuoftn  un«  6ei 

God,  the  Father,  with  us  stay 
fC.  U.3  (Trinity  Hymn 

In.  C.  U.  10  ^'''^'"''iFor  PubHc  Worship 

Ancient  German  Melody 


^ 


-7^ 


■^—<9- 


-&- 


^^^    J^i      e. 


-&- 


i 


-&—:■ 


i=^ 


■^=E^ 


t:— r- — r 


-/2- 


-tS"- 


3 


^^s^ 


1=3: 


^ 


-JSr 


-<^ 


i 


^ 


-| — t— ^ 


Si—^—Gh 


-g^—&- 


-G- 


^= 


::* 


-<^ 


i 


^^H 


:^=^ 


F=g 


^— a^ 


tr--^r-^— ^    ^  -^ 

ott  ber  3Sater  tooI)n  un§  6ei 
Unb  lafe  un§  md)t  berberben, 
SJlad)  un§  atler  (Siinben  fret 
Unb  f)ilf  un§  fetig  [terben. 
S3or  bent  Steufel  un§  beitJa^r, 
^alt  un§  bet  feftem  ©laufien, 
Unb  auf  btd^  la^  un§  Bauen, 
5lu§  ^eraen^grunb  bcrtraun, 
®ir  un§  laffen  oona  unb  gar, 
SOlit  alien  red^ten  (5:^riftett 
(Sntflielien  XeufeB  Siften, 
2Rtt  SSaffen  @ott§  un§  friften. 
Slmen,  Slnten,  \i^^  jet  tt)al)r, 
(So  fingen  Xqxx  galleluja. 

2.  Sefu§  e^riftuS  tt)ol)n  un§  bci,  u.f.tt). 


3.  .^eilig  ©eift  ber  too^n  un§  bei,  u.  f.  to. 


/^OD,  the  Father,  with  us  stay, 
^^  Nor  suffer  us  to  perish ; 

All  our  sins  O  take  away, 
Us  dying,  cheer  and  cherish. 

From  the  power  of  hell  defend; 
This  grace  to  us  be  granted: — 
Upon  thee  to  be  planted, 
In  heartfeh  faith  undaunted, 

Trusting  thee  unto  the  end; 
With  saints  of  every  nation, 
Escaping  hell's  temptation, 
Kept  by  the  Lord's  salvation. 

Amen!  Amen!  Answer  send! 
So  sing  we  all  Hallelujah. 

2.  Jesus,  Saviour,  with  us  stay, 

Nor  suffer  us  to  perish; 
(Continue  as  in  stanza  1.) 

3.  Holy  Spirit,  with  us  stay, 

Nor  suffer  us  to  perish; 
(Continue  as  in  stanza  1.) 

Tr.  uncertain. 


Luther's  hymns  8i 

'T^HROUGH  his  Protestant  faith  and  life,  Luther  enjoyed  a  closer  rela- 
tion to  God  than  was  accorded  him  by  the  old  Order  of  Mariolatry 
which  served  him,  during  the  days  of  his  Protestant  ministration, 
merely  as  a  starting  point  toward  better  things.  Striking  resemblances 
of  expressions,  of  this  h^Tnn,  to  the  warlike  tones  of  other  hymns  whose 
origin  dates  from  the  Diet  of  Worms,  show  that  it  belongs  to  that  period. 
Its  model  is  probably  of  the  15th  century,  or  earHer.  Wackernagel 
quotes  a  form  of  fifteen  lines  to  a  stanza,  dating  from  1422  and  beginning 
thus :  ''Sanctus  Petrus,  won  uns  bey."  In  Michael  Vehe's  Hymn  Book  of 
1537  it  is  entitled:  ''A  Litany  of  the  time  of  processions,  upon  St.  Mark's 
Day  and  Rogation  Week  (the  5th  week  after  Easter),"  and  consists  of  five 
stanzas  of  twelve  Knes  each,  followed  by  a  service  of  Invocations  to  the 
Patriarchs,  Prophets,  etc.  Luther  retained  the  first  three  stanzas,  elim- 
inated the  invocations  to  Mary,  the  angels  and  the  saints,  and  thus  pro- 
duced a  hymn  that  speedily  gained  a  wonderful  popularity.  It  was  a 
source  of  great  strength  in  every  distress,  and  furnished  an  invincible 
resistance  against  sin  and  Satan. 

It  was  used,  repeatedly,  at  weddings,  with  the  dying,  and  in  days  of 
sorrow.  The  Elector  of  Brandenburg,  Joachim  Frederick,  sang  it,  before 
his  death,  between  Koepnick  and  Berlin,  July  18,  1608.  It  appeared 
toward  the  close  of  1524,  according  to  Riederer  and  Wiener,  or  during 
1525,  according  to  Wackernagel  and  Winterfeld.  Walter  published  it  in 
1525,  and  Olearius,  in  Wittenberg,  during  the  same  year.  The  melody, 
adapted  from  an  ancient  setting,  appeared  in  Walter's  book. 
6 


82 


LUTHER  S  HYMNS 


Translations 


Mir  glauften  ail  an  tinm  (gott 

We  all  believe  in  one  true  God 

Fatrem  omnipotentem,  Factorem 
The  Nicene  Creed 

(C  U  3 

I N  C  U  7  Title— Creed  Hymn 


i 


:l=q: 


1 


;e; 


-^-=^=gz 


:=f 


i 


-3-     ,-^1 


1==|: 


q 1 ^- 


-z;!- 


-.5' f2^- 


-<2- 


-g^— g'- 


^ 


i 


-jrjr—^t-—-g^- 


:t=: 


-f2- 


.2^_^_ 


-fiM^I 


S 


^=^=4 


^^ 


^—^—7^- 


■^==:g==^—^zz^-=^-=X 


:^=^ 


S 


:^±=f: 


-^ 


-z:^ 


1^ 


-zr 


$ 


i 


=1=qr 


^^^f^-^-!^^^<>-5- 


-^224 


I^-^ 


g-gi-«^zt 


-&—gir 


-nzr 


it|l%ir  glaufien  all  on  etnen  ®ott 
"^^^  ®dl6)3fer  ^immeB  unb  ber  ©rben; 
®er  fid^  §um  S3ater  gefien  {)at, 
®afe  Jt)ir  feme  ^inber  toetben. 
@t  n^iE  un§  aE§eit  erndl)ren, 
Seib  unb  ©eel  a\\6)  'wo^i  Betoalf)ren, 
SlEem  UnfaU  toil!  er  toe^ren, 
^ein  Seib  foE  un§  it)iberfal)ren. 
®r  forget  fitr  un§,  .^ut't  unb  trad^t, 
e§  fte^t  alle§  in  feiner  ma6)i. 

2.  2Bir  glaufien  and)  an  ^efum  (I()rift, 
©einen  ®o{)n  unb  unfren  ^erren, 
®er  etoig  bet  bem  SSater  ift, 
@leid)er  @ott  bon  9Jiad)t  unb  (5l)ren. 
S3on  9Jtaria  ber  :3utt0frauen 
•^ft  ein  ica^rer  SD^enfd)  geboren 
^\\x6)  htn  {)etlgen  @eift  im  ©lanfien 
^iir  un§,  bie  lt)ir  irarn  berloren, 
^m  5^reu5  geftorben  Unb  bom  Xob 
SKicber  aufcrftanben  burd)  @ott. 


W 


E  all  believe  in  one  true  God, 
Maker  of  the  earth  and  heaven, 
The  Father  who  to  us  the  power 

To  become  his  sons  hath  given. 
He  will  us  at  all  times  nourish, 

Soul  and  body,  guard  us,  guide  us, 
'Mid  all  harms  will  keep  and  cherish. 

That  no  ill  shall  ever  betide  us. 
He  watches  o'er  us  day  and  night ; 
All  things  are  governed  by  his  might. 

And  we  believe  in  Jesus  Christ, 

Lord  and  Son  of  God  confessed, 
From  everlasting  days  with  God, 

In  like  power  and  glory  blessed. 
By  the  Holy  Ghost  conceived, 

Born  of  Mary,  virgin  mother, 
That  to  lost  men  who  believed 

He  should  Saviour  be  and  brother; 
Was  crucified,  and  from  the  grave. 
Through  God,  is  risen,  strong  to  save. 


luthee's  hymns 


83 


3.  SBir  glaubcn  an  htn  l)eiIoen  ©ctft, 
@ott  mit  3?ater  unb  bcm  ©ol^ne, 
S)er  allcr  Stoben  ^rijftcr  ^eifet, 
Unb  mit  ©aticn  aicret  \d)om. 
2)ie  gang  ei)riftenl)eit  auf  (Srben 
^dlt  in  eincm  ©inn  gar  cljcn, 
^ier  aH  (Siinb  bergcBeit  tocrben. 
S)a§  gletfd)  foU  oud)  toicber  le6en. 
5Rad)  biefem  (glenb  :3ft  tiereU 
Un§  ein  8e£)en  in  (Sn)ig!eit. 

3t  m  e  n. 


3.  We  in  the  Holy  Ghost  believe, 

Who  with  Son  and  Father  reigneth, 
One  true  God.    He,  the  Comforter, 

Feeble  souls  with  gifts  sustaineth. 
All  his  saints,  in  every  nation, 

With  one  heart  this  faith  receiving, 
From  all  sin  obtain  salvation, 

From  the  dust  of  death  reviving. 
These  sorrows  past,   there  waits  in 
For  us,  the  life  for  evermore,     [store 

Tr.  uncertain. 


npHIS  is  the  Nicene  Creed  designed  for  liturgical  use.  It  is  an  ampli- 
fication of  an  ancient  poem  to  which  Hoffman  of  Fallersleben  refers. 
It  is  not  a  versification  of  the  Credos  of  the  Mass  and  is  supposed  by 
Klippgen  to  antedate  1524. 

Either  the  congregation  sang  the  three  stanzas,  or  the  liturgist  recited 
the  first  article  of  the  Creed,  after  which  the  congregation  sang  the  hymn. 
The  Wittenberg  Order  of  Worship,  1559,  prescribes  that  after  the  Gospel  is 
read  the  Priest  (minister)  sings:  'T  beKeve  in  one  God'';  then  the  Choir 
sings:  "Almighty  Father";  whereupon  the  Congregation  sings:  "We  all 
believe,  etc." 

It  was  published  in  the  Wittenberg  Hymn  Book,  as  also  in  Walter's 
Book,  of  1524.  Most  of  the  authors,  contemporary  with  Luther,  included 
it  in  their  collections.  Luther  included  it  among  his  Funeral  Hymns,  in 
1542.  During  the  Reformation  period,  it  was  usually  sung  after  the  ser- 
mon, except  on  funeral  occasions,  when  it  was  generally  sung  before  the 
sermon.  It  was  sung  at  the  funeral  of  Frederick  the  Wise,  of  Saxony, 
on  May  9,  1525. 

ON  account  of  their  Protestant  faith,  two  brothers  were  condemned  to 
the  stake,  in  Mechlin,  Belgium,  in  1585.     Neither  smoke  dared 
strangle,  nor  the  flame  consume  them,  before  they  had  concluded  the 
singing  of  this  hymn. 

JEROME  of  Prague,  a  trusted  friend  of  John  Huss,  died  at  the  stake,  in 
1416,  because  he  refused  to  condemn  the  doctrines  of  his  martyred 
friend,  and  insisted  upon  singing  this  and  other  Protestant  hymns. 

A  CCORDING  to  an  old  Order,  in  Sweden,  "We  believe  in  one  true 
God"  is  sung  in  the  Chief  Service,  while  the  whole  congregation 
stands.     Not  to  stand  and  sing  signifies  a  denial  of  the  faith. 


84  luther's  hymns 

A  RICH  count,  living  in  the  German  earldom  of  Nidda,  had  an  only  son 
for  whom  he  desired  to  find  a  chaste  and  pious  wife.  The  son,  how- 
ever, shrank  from  the  thought  of  marriage,  fearing  he  would  not  be  able 
to  support  a  wife.  Some  time  later,  a  young  peasant  concluded  to  marry 
a  poor  girl.  Since  both  belonged  to  the  domain  of  the  count,  they  were 
required  to  secure  a  license  for  the  marriage.  When  they  appeared  be- 
fore the  count,  he  asked  them  how  much  money  they  had.  The  young 
peasant  said,  ''I  have  fifteen  crowns  and  my  bride  has  six;  this  constitutes 
our  whole  possession.'^  The  count  exclaimed,  "How  do  you  intend  to 
support  a  wife  on  twenty-one  crowns?  I  know  a  young  man  who  owns 
more  than  twenty-one  thousand  crowns  and  yet  he  is  afraid  to  under- 
take the  support  of  a  wife."  The  peasant  rephed,  ''That  young  man, 
evidently,  has  never  been  in  church,  nor  sung: 

He  will  us  at  all  times  nourish, 

Soul  and  body,  guard  us,  guide  us." 

The  count  turned  and  looked  upon  his  son,  who  stood  by  with  a  remorseful 
countenance,  and  said,  'Tn  my  efforts  to  make  of  you  a  useful  man,  you 
have  cost  me  much  money,  but  the  best  and  highest  good  you  have  not 
learned,  viz.,  to  trust  in  God;  in  this  grace  a  poor  peasant  excels  you  by 
far." 

npHE  principal  of  the  cathedral  school  in  Halberstadt,  Christian 
Gottfried  Struensen,  who  died  in  1782,  fell  into  great  want.  In 
many  respects,  Struensen  was  a  keen,  resolute  and  God-fearing  man  and 
was  not  easily  outwitted.  But  in  this  instance  his  courage  failed  him. 
While  in  deep  depression  of  soul,  one  day,  he  entered  the  cathedral  at  a 
time  when  the  congregation  sang: 

He  will  us  at  all  times  nourish. 

This  produced  a  powerful  effect  upon  his  soul  and  roused  his  slumbering 
faith  so  that,  to  his  last  day,  by  the  help  of  God,  he  patiently  and  cheer- 
fully met  and  solved  all  the  problems  that  checkered  his  eventful  career. 

pORTUNATUS,  a  pedagogue  in  Niemegen,  entered  the  office  of  the 
mayor  of  the  city  with  the  plea  that,  since  his  family  had  grown  very 
large,  he  be  granted  an  increase  of  salary.  While  the  mayor  hesitated, 
which  created  the  suspicion  in  Fortunatus  that  he  was  unwilling  to  grant 
his  request,  his  mind  wandered  to  this  sentiment:  "Why  do  I  bother  the 


Luther's  hymns 


85 


honorable  mayor  with  this  matter?  If  my  God  grants  me  many  children, 
he  will  also  care  and  provide  for  them. 

He  will  us  at  all  times  nourish, 

Soul  and  body,  guard  us,  guide  us." 

Without  waiting  for  a  reply  he  speedily,  yet  contentedly,  left  the  ofl5ce  of 
the  mayor,  knowing  and  believing  that  God  will  provide.  God  did 
provide  and  Fortunatus  was  promoted. 

A  SILESIAN  pastor  relates  the  following  incident:  "In  my  church  is  a 
pious  and  faithful  elder  who  is  always  punctual  in  his  service.  When 
we  are  together  in  the  sacristy  and  the  congregation  sings  'We  all  believe 
in  one  true  God,'  and  reaches  the  middle  of  the  third  stanza,  he  signifies 
that  it  is  now  time  to  go  to  the  altar  by  saying,  'Dear  pastor,  now  all 
Christendom  is  approaching.'  These  words  impress  me  most  profoundly, 
and  constantly  remind  me  of  the  magnitude  of  my  holy  office.  With  the 
approach  of  my  congregation,  all  Christendom  comes  forth  to  meet  me, 
also  those  already  triumphant  before  the  throne  of  the  Lamb.  With  a 
sigh:  Oh,  that  they  may  not  come  in  vain,  I  plead:  Lord,  help  me,  be  not 
far  from  me,  and,  through  me,  let  them  find  thee." 


Mnn  feomm  bet  ^tihtn  56eilanb 


Saviour  of  the  heathen,  known 

Veni,  redemptor,  gentium 


Translations 


(C.  U.  2 
In.  C.  U. 


8 


TiTLES-Hymnforj^^;;^^^^^^ 

From  the  Ambrosian  Original 


i 


S 


:^=^ 


-•— ^ 


-f2- 


^-^ 


:t==t 


^ 


i 


:^=^ 


-O- 


-^52- 


1 — t-— r 


222: 


^^  ^er  :^unnfrauen  ^inb  eriannt, 
®afe  fidE)  tounbre  atle  SBelt; 
©ott  \o\6)  ©efiurt  i^m  feeftellt. 

2.  9^id^t  bon  mammui  x\o6)  bom  gletfd^, 
SUlein  bon  bem  t)etlgen  ©eift 
;Sft  ®ott§  2Bort  toorben  ein  mtx\\^, 
Unb  5lu^t  ein'  grud^t  2Beibe§  gtetfd^. 


CAVIOUR  of  the  heathen,  known 
^  As  the  promised  virgin's  Son; 
Come  thou  wonder  of  the  earth, 
God  ordained  thee  such  a  birth. 

2.  Not  of  flesh  and  blood  the  Son, 
Offspring  of  the  Holy  One, 
Born  of  Mary  ever-blest, 
God  in  flesh  is  manifest. 


86 


LUTHER  S  HYMNS 


3.  2)er  :^un0fraim  Ceiib  [{S^toanger  toatb, 
3)od^  6lie6  ^eufd^^eit  rein  fietoal^rt, 
Seud^t't  l^erfur  mand)  Stugenb  fc^on ; 
@ott  ba  toar  in  feinem  St^ron. 

4.  ©r  ging  au§  ber  hammer  fein, 
®em  fongli(f)en  ©aal  fo  rein ; 
(SJott  bon  3lrt  unb  aRenfd^,  eiu  ^db, 
<Sein'n  2Beg  er  gu  laufen  eitt. 

5.  (Sein  8auf  lam  bom  SSater  f)er, 
Unb  !el)rt  toieber  aunt  S3ater, 
iJul^r  l)inuntcr  gu  ber  ^oU, 
Unb  tokbtx  gu  ®otte§  ©tu^t 

6.  2)er  bu  6i[t  bem  SSater  gleid^, 
giil^r  ]^inau§  ben  ©ieg  im  gletfd^, 
S)afe  betn'  eit)ge  ©ottS^^en^alt 
Qn  un§  bag  !ran!  gietf(f|  ent^alt. 


3.  Cherished  is  the  Holy  Child 
By  the  mother  undefiled; 
In  the  virgin,  full  of  grace, 

God  has  made  his  dwelling-place. 

4.  Lo!  he  comes!  the  Lord  of  all 
Leaves  his  bright  and  royal  hall; 
God  and  man,  with  giant  force. 
Hastening  to  run  his  course. 

5.  To  the  Father  whence  he  came 
He  returns  with  brighter  fame; 
Down  to  hell  he  goes  alone, 

Then  ascends  to  God's  high  throne. 

6.  Thou,  the  Father's  equal,  win 
Victory  in  the  flesh  o'er  sin; 

So  shall  man,  though  weak  and  frail 
By  the  indwelling  God  prevail. 


7.  2)ein'  ^ippt  gtangt  l^eU  unb  flat, 
S)ie  ^adjt  gibt  etn  neu  8id)t  bar, 
2)unfel  mufe  ni(f)t  !ommen  brein, 
S)er  ©laufi  bletbt  immer  im  ©c^ein. 


7.  On  thy  lowly  manger  night 
Sheds  a  pure  unwonted  light; 
Darkness  must  not  enter  here, 
Faith  abides  in  sunshine  clear. 


8ob  fei  ©ott  bem  S3ater  g't^an, 
2o^  fei  ®ott  fein'm  ein'gen  ©oljn, 
Sofi  fei  ®ott  bem  ^eilgen  ©eift, 
:3mmer  unb  in  ©toigfett. 


8.  Praise  be  to  the  Father  done, 
Praise  be  to  the  only  Son, 
Praises  to  the  Spirit  be, 
Now  and  to  eternity. 


"^EXT  to  the  'Te  Deum,"  this  is  the  best  of  the  twelve  hymns  ascribed 
to  St.  Ambrose,  and  has  been  freely  reproduced  by  Luther.  It  is 
full  of  faith,  rugged  vigor,  austere  simplicity,  and  bold  contrasts.  It  is 
plainly  referred  to,  by  St.  Augustine,  as  the  work  of  St.  Ambrose  (d,  397), 
and,  at  a  council  held  in  Rome,  430,  it  has  been  definitely  cited  as  his,  by 
Pope  Celestine.  Besides  other  early  writers,  Faustus,  who,  in  455,  be- 
came bishop  of  Rhegium  (Reiz  in  France),  in  his  "Epistola  ad  Gratum 
Diaconum,"  credited  it  to  Ambrose.  St.  Augustine  testifies  to  the  effect 
of  the  hjnnn,  and  music,  introduced,  into  the  Church  at  Milan,  by  St. 
Ambrose,  his  spiritual  father:  "How  did  I  weep,  O  Lord!  through  thy 
hymns  and  canticles,  touched  to  the  quick,  by  the  voices  of  thy  sweet- 
attuned  Church!  The  voices  sank  into  my  ears,  and  the  truths  distilled 
into  my  heart,  whence  the  affections  of  my  devotions  overflowed;  tears 
ran  down  and  I  rejoiced  in  them." 


Luther's  hymns  87 

Sometimes  a  stanza  is  prefixed  to  the  hymn  as  follows : 

Intende  qui  regis  Israel 
Super  cherubin  qui  sedes, 
Appare  Ephraem,  coram  excita 
Potentiam  tuam,  et  veni. 

Stretch  forth,  who  art  Israel  of  the  King, 
Who  sittest  above  the  cherubim, 
To  prepare  Ephraim,  before  his  eyes 
Stir  up  thy  power,  and  come. 

Celestine  and  Cassiodorus  cite  the  hymn  as  beginning  with  "Veni, 
Redemptor  Gentium";  and  this  stanza  has  not  appeared,  in  any  manu- 
scripts, earlier  than  the  14th  century,  and  has  obtained  no  currency  save 
in  the  Cistercian  Breviaries.  In  any  case,  these  Hnes  are  not  by  St. 
Ambrose,  for  they  are  simply  the  Vulgate  of  the  70th  Psalm. 

Stanzas  1-3  show  that  the  worshipper  invites  the  Wonderful  Saviour, 
and  picture  him  in  the  Hght  of  Haggai  2  :  7,  Is.  7  :  14,  John  3  :  6,  John 
1  :  1,  Gal.  4  : 4,  Matt.  1  :  20,  Col.  2  :  9,  and  Luke  1  :  32;  4-6  the  Lord 
descends  to  com-plete  redemption  and  returns  to  his  highest  glory  to  seal 
his  victory  for  fallen  man,  Ps.  19  :  6,  John  16  :  16,  Ps.  51  :  14;  7  brings  the 
worshipper  again  to  the  manger  to  behold  the  rising  Sun  in  the  dawn  of 
his  childhood,  Is.  9  :  2 ;  and  8  is  a  Doxology. 

The  hymn  appeared  in  the  Erfurt  Enchiridion,  and  Walter's  book,  of 
1524.     Klug,  Babst,  and  others,  pubHshed  it. 


88 


LUTHER'S  HYMNS 


Cbris^ttim  totr  swollen  loben  ntl^on 

Now  praise  we  Christ,  the  Holy  One 

A  solis  ortus  cardine 


(C.  U.  12 
Translations-^  j^  C  U  20 


Title— Christmas 


Ancient 


I       !     I      !    I 


!        gj        gj «^ ■^- 


Zal 


g 


-(22- 


-(2ii- 


-25»- 


:|=: 


-^J        r^ 


1=): 


:^: 


-(2- 


1^=5: 


-t:^ 


J2=a 


i^ 


t=q: 


i 


t=; 


-5^ 


-SL 


-z:*- 


^riftum  toir  foUen  loben  fd^on, 
®er  teincn  SJtagb  2Rarten  ©o^n, 
(So  ixjeit  tie  liebe  (Sonne  leucE)t't 
Unb  an  aUer  SS^ett  @nbe  rei(^t. 


-fS"- 


or 


2.  S)er  felig  (Sdfio^fer  aHer  ®tng 
3o8  an  ein'§  '^xit6;)it^  Ccib  gering, 
Safe  er  ^^(x^  gleifd^  burd)§  gleifcf)  ermutb' 
Unb  fetn  ©efd^o^jf  ntd^t  all§  berburb. 

3.  ®ie  gottltd^  @nab  bom  gtmntel  grofe 
©id^  in  bie  !eu[cl^e  SOIutter  gofe, 

©in  SO^agblcin  trug  ein  l^eimlid^  ^fanb, 
S)a§  ber  9?atur  n^ar  un6e!annt. 

4.  S)a§  siid^ttg  $au§  be§  ^er^eng  gart 
©at  Balb  ein  5tem|)el  ®otte§  i:5arb ; 
®ie  fein  9Jlann  riil^rte,  noc^  erfannt, 
S3on  ®otte§  2Bort  man  fdjttjanger  fanb. 

5.  ®te  ebte  3Jlutter  ^at  gebom, 
S)en  ®a6riel  berfiiefe  guborn, 

®en  fanct  :So^ann'§  mit  <Springen  geigt, 
S)a  er  noc^  tag  im  2)^utterleib. 

6.  ©r  lag  im  ^eu  mit  ^rmut:^  grcf^, 
S)ie  ^rippen  l^art  il)n  nid)t  berbrofe ; 
@§  tDarb  ein  !leinc  9JJit(^  [ein'  (S^ei§^ 
2)er  nie  iein  25oglein  Ijungern  liefe.  \ 


N 


OW  praise  we  Christ,  the  Holy  One, 

The  spotless  virgin  Mary's  Son, 
Far  as  the  blessed  sun  doth  shine. 
E'en  to  the  worid's  remote  confine. 


2.  He,  who  himself  all  things  did  make, 
A  servant's  form  vouchsafed  to  take, 
That  he  as  man  mankind  might  win, 
And  save  his  creatures  from  their  sin. 

3.  The  grace  of  God,  th'  Almighty  Lord, 
On  the  chaste  mother  was  outpoured; 
A  virgin  pure  and  undefiled 

In  wondrous  wise  conceived  a  child. 

4.  The  holy  maid  became  th'  abode 
And  temple  of  the  Hving  God; 

And  she,  who  knew  not  man,  was  blest 
With  God's  own  Word  made  manifest. 

5.  The  noble  mother  bare  a  Son, 
For  so  did  Gabriel's  promise  run. 
Whom  John  conf  est  and  leapt  with  joy. 
Ere  yet  the  mother  knew  her  boy. 

6.  In  a  rude  manger,  stretched  on  hay, 
In  poverty  content  he  lay; 

With  milk  was  fed  the  Lord  of  all. 
Who  feeds  the  ravens  when  they  call. 


89 

7.  2)e§  ^immel§  6!)6r'  firf)  frcuen  brob,  7.  Th'  angelic  choir  rejoice,  and  raise 
Unb  bic  engel  fingen  ©ott  Sob ;  Their  voice  to  God  in  songs  of  praise; 
2)en  atmen  ^trten  tuirb  bermelb't                     To  humble  shepherds  is  proclaimed 
2)er^irtunb(5d)0pferaIIer                             The  Shepherd  who  the  world  hath 

SSelt.  framed. 

8.  C06,  (St)X  unb  ®anf  fei  bit  gefagt,  8.  Honor  to  thee,  O  Christ,  be  paid, 
(Shrift,  Qthoxn  ton  ber  reinen  ^a^b,  Pure  offspring  of  a  holy  maid, 

2nit  SSater  unb  bem  J^etlgen  ©eift,  with  Father  and  with  Holy  Ghost, 

SSon  nun  an  6t§  in  (gtotg!eit.  Till  time  in  time's  abyss  be  lost. 

npHE  opening  lines  of  the  hymn,  1-4,  we  may  safely  ascribe  to  Sedulius. 

The  following  lines,  5-12,  form  the  conclusion  of  the  hymn  for  the 
Epiphany,  ^'Quicunque  Christum  quaeritis,"  by  Prudentius.  The  Hnes, 
13-24,  commencing  vath  "Fit  porta  Chris  ti  per  via,"  are  received,  by  the 
Benedictine  editors  of  St.  Ambrose,  as  a  genuine  work  of  that  father,  on 
authority  of  a  treatise  ascribed  to  St.  Ildephonsus:  *^De  perpetua  Vir- 
ginitate  Beatae  Mariae,  et  de  ejus  Parturitione."  This  is  certainly  old, 
and  is  most  probably  the  work  of  Paschasius  Radbertus  (d.  851).  It  may 
be  stated,  however,  that  the  portion,  ascribed  to  St.  Ambrose,  coincides, 
in  large  measure,  with  a  hymn  found  in  the  works  of  St.  Rabanus  Maurus. 
The  authorship  of  the  remaining  Knes  is  uncertain.  Daniel  says,  the 
hymn  is  constructed  from  different  compositions,  and  that  its  groundwork 
was  a  poem  in  which  the  initial  letters  of  every  fourth  line,  taken  together, 
make  up  the  alphabet. 

As  to  its  ritual  use,  it  is  the  hymn  at  Lauds,  at  the  Feast  of  the  An- 
nunciation, in  the  Mozarabic  Breviary,  Toledo,  1502,  while  in  the  edition 
by  Ximene,  1517,  "A  solis  ortus  cardine"  is  said  at  Vespers,  down  to  line 
21,  when  the  Ambrosian  strophes  come  in  with  a  doxology. 

John  of  Salzburg,  and  Henry  of  Laufenbery,  tried  their  skill  at  trans- 
lating the  hymn  into  German,  but  the  results  of  their  efforts  show  that 
they  held  too  closely  to  the  Latin  text.  Luther  excelled  them  by  far,  in 
his  work.  He  first  imbibed  the  thought  of  the  Latin  hymn  and  then  ex- 
pressed its  Protestant  truths  in  smooth  and  easy  verses. 

Stanza  1  breathes  praise  to  Christ,  the  Holy  One;  2  tells  of  the  humil- 
iation of  Jesus  for  the  sake  of  man's  redemption,  John  1:3;  3-5  by  the 
grace  of  God,  the  Virgin  becomes  his  mother,  Luke  1  :  35,  John  1:1, 
Luke  1  :  44;  6  he  who  feedeth  all  assumes  poverty,  Ps.  147  :  9;  7  sets  forth 
angel  praises  and  announcements ;  and  8  is  a  Doxology. 

The  hymn  appeared  in  the  Erfurt  Enchiridion,  1524;  in  Olerarius, 
Wittenberg,  1525;  Koch,  1524;  and  in  Wiener,  Winterfeld^  and  others. 


90 


LUTHER  S  HYMNS 


(C  U  3 
Translations  s'  p*  ^ 


All  praise,  Lord  Jesus  Christ,  to  Thee 

(Advent 
Christmas 
Epiphany 

Bohemian  Hymn  Book,  1566 


8 


I 


5 


1^—7r 


:?: 


-F^ 


-P'^ jS> — H 


-<» h 


tut 


i 


i 


-^- 


•X    I   gJ     ^    g;    jg— {^— si- 


f-a(-# 


-^S- 


eIobetfei[tbu,;^efu(5:^xtftI 
Safe  bii  aJlenfd^  gefioren  Sift 
S3on  etner  i^^ungfrau,  ba§  ift  toot, 
S)e§  freuet  \xd)  ber  (gngel  <S(^aar. 
^t)rielei[on. 

2.  ^e§  etngen  SSaterS  einig  ^inb 
:^e^t  man  in  ber  ^rtppen  finbt: 
:^n  un[er  atme§  gteifrfi  unb  SBlut 
^edieibet  \\d)  ha§>  eto^e  ®ut. 

S?t)rieleifon. 

3.  ®en  diet  SSett  S?ret§  nie  befd^Iofe, 
S)er  liegt  in  SJlarien  (Sd)oofe, 

(Sr  ijt  cin  5?inblein  it)orben  flein, 
2)er  alle  ®ing  erl)alt  allein. 
^t)rteleijon. 

4.  ®a§  etDge  Sic^t  gel^t  ba  l^erein, 
&iU  ber  SBelt  ein'n  neuen  (Sd^ein; 
@§  leuc^t't  tool  mitten  in  ber  ^a^t 
Unb  un§  be§  Ci(f)te§  ^nber  ma^t. 

^tjxieleifon. 

5.  2)er  ©o^n  be§  SSoterg,  ©ott  t)on  5lrt, 
©in  ©aft  in  ber  SESelt  l)ier  toarb, 

Unb  fiitirt  un§  au§  bem  :Qammert^a(; 
@r  mac^t  un§  ©rben  in  fein'm  (Baal 
^^rieleifon. 

6.  ©r  ift  auf  ©rben  !ommen  orm, 
2)afe  er  unfer  fi(^  erbarm, 

Unb  in  bem  §immel  macEiet  reid^, 
Unb  [einen  lieben  ©ngeln  gleid^. 
Sl^rielei[on. 


A  LL  praise,  Lord  Jesus  Christ,  to  Thee, 

''■  Who  condescendest  man  to  be ! 

Of  Virgin-mother  born  on  earth, 

The  angels  celebrate  Thy  Birth. 

Kyri'  Eleison. 

2.  Th'  Eternal  Father's  only  Son 
Accepts  a  manger  for  His  throne; 
Arrayed  in  our  poor  flesh  and  blood, 
Now  comes  to  us  th'  eternal  Good. 

Kyri'  Eleison. 

3.  He  Who  pervades  all  worlds,  all  space, 
A  virgin's  arms  do  now  embrace! 

In  infant  form  before  us  lies 
He  who  upholds  both  earth  and  skies! 
Kyri'  Eleison. 

4.  The  midnight  brings  th'  eternal  Light, 
A  newborn  glory  gilds  the  night; 

It  shines  the  darkness  far  away, 

To  make  us  children  of  the  day. 

Kyri'  Eleison. 

5.  The  Father's  Son,  true  God  of  God, 
Now  takes  this  world  for  His  abode. 
And  in  our  human  life  appears. 

To  lift  us  from  this  vale  of  tears! 
Kyri'  Eleison. 

6.  In  mercy  to  our  fallen  race, 

In  poverty  He  takes  His  place, 
That  heavenly  riches  we  may  own, 
And  dwell  as  angels  round  His  Throne! 
Kyri'  Eleison. 


Luther's  hymns  91 

7.  2)a§  W  er  olle^  un§  gct^an,  7.  All  this  for  us,  Thou,  Lord,  hast  done, 

©ein' grofe  Cieb  au  aeigen  And   thus  Thy  matchless  goodness 

oxi,  shown; 

S)e§  freu  fid^  oHe  ©liriften^cit.  For  this  all  Christendom  now  sings, 

Unb  ban!  i^m  be§  in  (gteigfeit.  And  thanks  eternal  to  Thee  brings, 

^^rieleifon.  Kyri'  Eleison. 

This  is  an  amplification  of  a  German  stanza  discovered  by  Jellinghaus. 
All  efforts  to  fix  the  origin  of  the  hymn  have  failed,  although  it  is  supposed 
to  belong  to  the  group  bearing  the  date  of  1524.  The  first  stanza  is  still 
in  the  form  in  which  it  appeared  in  1370,  and  gave  Luther  the  motive  to 
translate  and  amplify  it.  Most  rehable  authorities  claim  it  was  the 
Germanizing  of  a  Latin  sequence,  a  musical  sentence  with  a  paraphrase 
of  the  Epistle  and  Gospel,  in  the  service,  by  Gregory  the  Great,  of  the 
5th  century: 

Grates  nunc  omnes  reddamus 

domino  deo 
Avi  sua  nativitate 

nos  libera\it 
De  diabolica  potestate: 

huic-oportet, 
Ut  canamus  cum  angelis 
Semper  gloria  in  excelsis. 

Now  we  all  give  thanks  to  God,  the  Lord, 

With  angels  at  his  birth. 

He  has  freed  us  from  satanic  power: 

It  is  due  Him,  that,  with  angels, 

We  should  always  sing:   glory  in  the  highest. 

Some  authorities  ascribe  the  hymn  to  Notker  Balbulus.  A  manu- 
script, dated  1370,  now  in  the  Royal  library  in  Copenhagen,  shows  that,  in 
its  earhest  form,  in  the  German  language,  it  was  written,  most  likely,  in 
the  district  of  Celle,  by  an  unknown  author.  Almost  the  only  instance  of 
popular,  vernacular  song,  used  in  the  services  of  the  Church,  before  the 
Reformation,  is  the  old  German  stanza: 

Louet  sistu  ihu  crist, 
dat  du  hute  ghebaren  bist 
Von  eyner  maghet.     Dat  ist  war. 
Des  vrow  sik  aide  himmelsche  schar. 
Kyrie  Eleison. 

Until  the  12th  century,  the  priests  sang  the  short  stanzas  and  the  con- 
gregation united  in  singing  "Kyrie  Eleison";  but  the  frequent  use  of  this 


92 

popular  Christmas  hymn  gradually  led  to  the  united  singing  of  the  whole 
hymn,  as  of  many  others,  by  the  congregation.     In  the  ''Ordinarium  in- 
cUtae  ecclesiae  Swerinensis,"  Rostock,  1519,  a  rubric  for  the  service  for 
Christmas  is  given:    'Topulus  vero  Canticum  vulgare:  Gelavet  systu ! 
Jesu  Christ,  tribus  vicibus  subjunget,"  (Hoffman  von  Fallersleben). 

To  this  pre-Reformation  stanza,  Luther  added  six  original  stanzas, 
which  contain  sHght  reminiscences  of  the  "Quem  terra,  pontus,  aethera'* 
by  Fortunatus,  and  published  them,  each  with  a  Kyrieleis,  on  broad 
sheets,  in  Wittenberg,  and  in  the  Erfurt  Enchiridion,  1524.  The  title 
was:  ^'Ein  Hymnus  oder  Lobgesang  auff  Weyhenacht."  The  popular  air 
adapted  to  it  dates  back  to  the  15th  century. 

An  old  hymn  expounder,  Schamelius,  placed  the  following  title  over  it: 
* 'Benefactions  of  the  birth  of  Christ,  sung  through  manifest  paradoxes." 
In  these  contrasts  the  Christian  heart  may  easily  fathom  the  love  of  God. 
They  are:  The  Son  of  God,  child  of  man;  the  Great  God,  a  Httle  child; 
the  Light,  night;  heaven,  vale  of  tears;  poor,  rich;  rich  grace,  poor 
race. 

Stanza  1  intones  praises  to  Christ,  the  Son  of  man;  2-3  the  Christian 
kneels  before  the  Holy  Child,  lying  in  a  manger  and  on  his  mother's  arm, 
and  beholds  God's  wonderful  gift;  4-6  he  casts  a  glance  into  a  dreary  world 
whose  shades  are  banished  by  the  approaching  Light,  her  abodes  are 
cheered  by  the  indwelling  Life,  and  her  poverty  lifted  by  his  exalted 
glory;  and  7  praises  the  Lord  for  his  goodness. 

The  hymn  appeared  in  all  of  the  old  editions  of  hymn  books. 

QN  Christmas  Eve,  1703,  the  eighty- two-year-old  father  Knesebeck,  an 
esteemed  treasurer  of  Rostock,  on  the  Baltic,  sat  by  his  glowing  fire- 
side, in  his  cushioned  chair,  against  whose  high  back  rested  his  snow- 
crowned  head.  By  his  side  sat  his  aged  wife  and  daughter.  On  the 
table,  before  them,  ghmmered  two  lighted  candles,  between  which  lay 
the  open  family  Bible.  Although  the  frosty  December  winds  whistled 
around  their  dwelling,  he  did  not  hear  them,  since  for  a  decade  past  he 
had  grown  completely  deaf.  This  condition  drew  many  a  sigh  of  sorrow 
and  sympathy  from  his  wife  and  daughter,  especially  during  the  hallowed 
Christmas  season.  But  the  hour  had  come,  and,  while  the  aged  couple 
sat  in  silence,  and  with  folded  hands,  their  daughter  read  the  opening 
verses  of  the  second  chapter  of  St.  Luke.  Having  concluded  the  reading 
of  the  Scriptures,  mother  and  daughter  lifted  up  their  voices  and  sang  the 
customary: 

Gelobet  seist  du,  Jesu  Christ. 


93 

While  they  intoned  the  second  line,  to  their  great  astonishment,  the 
aged  father  joined  them  and,  with  trembling  voice,  sang:  ''Dass  du 
Mensch  geboren  bist."  During  the  reading  of  the  Unes:  "Fear  not;  for, 
behold.  I  bring  you  good  tidings  of  great  joy,"  an  angel  of  the  Lord 
touched  him  and  suddenly  his  ears  were  unstopped.  He  could  hear 
again.  He  sang,  and  prayed,  and  praised  God.  Their  growing  delight, 
as  they  continued,  caused  their  tears  to  flow,  while  the  happy  trio  sang: 

All  this  he  did  to  show  his  grace 
To  our  poor  and  sinful  race; 
For  this  let  Christendom  adore 
And  praise  his  name  for  evermore. 
Hallelujah  I 

TT  is  said  that  none  sang  this  h\TQn  more  frequently  than  Coimt  Nicholas 
von  Zinzendorf ,  the  founder  of  the  Moravian  Church,  and  no  one  has 
heard  it  sung  under  more  touching  circumistances  than  he.  In  the  fall 
of  1738,  the  Count  sailed  across  the  seas,  to  the  West  Indies,  in  order  to 
assist  and  encourage  the  oppressed  missionaries  among  the  colored  slaves. 
After  three  months,  he  succeeded  in  freeing,  from  imprisonment,  the  al- 
most famished  envoys  to  the  Island  of  St.  Thomas.  He  was  content  not 
only  to  liberate  them  from  dungeons  but,  for  three  months,  he  preached 
to  free  his  hearers  from  the  bonds  of  sin  and  death.  His  constant  theme 
was  the  Gospel  of  Hfe  and  freedom  in  Jesus.  With  strong  emotions,  the 
whole  congregation  joined  him  in  reciting  the  words  of  the  second  article 
of  the  Creed  and  with  profoundest  gratitude,  they  sang  Luther's  h}aiin, 
"Gelobet  seist  du,  Jesu  Christ." 

n^HE  hymn  is  an  adoration  inspired  by  St.  John  1  :  14,  "And  the  Word 
was  made  flesh,  and  dwelt  among  us."  As  the  majestic  Word,  the 
eternal  God-Word,  was  made  flesh,  so  this  h^mn  unites  the  most  exalted 
with  the  lowliest,  in  a  Httle  child.  Beautiful  contrasts  appear  in  amazing 
harmonies.  In  connection  with  the  fourth  stanza,  Moeller  relates  that  on 
a  certain  occasion  Luther  offered  up  a  Christmas  prayer.  His  thoughts 
wandered  to  the  manger,  in  which  the  Child  Jesus  lay,  and  he  desired  to 
say  before  God  how  the  Lord  Jesus  has  been  the  Light  of  the  world,  ban- 
ished darkness  and  led  us  from  afar  to  our  home  with  the  Father.  While 
his  thoughts  were  thus  employed,  the  incense  of  his  devotions  bore  aloft 
these  words:   "The  Eternal  Light  enters  here/' 


94 


Luther's  hymns 


Cftrfet  lag  in  tCobesJbanben 

Christ  was  laid  in  Death's  strong  bands 


Translations 


(C.  U.  7 
(N.  C.  U.  11 


Title — Easter  Hymn 

Bohemian  Hymn  Book,  1566 


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\)Vi\i  log  in  5tobe§6anben, 
giir  un[re  iSiinb  gegeljen ; 
%tx  \\i  toieber  erftanben, 
Unb  \)<xi  un§  firad^t  t)a§  CeBen: 
!5)e§  trtr  foUen  fro^tid^  fern, 
@ott  lofien  unb  banfbar  fein, 
Unb  fingen:  ^alleluja, 


2.  ©en  Sob  ntemanb  gtotngcn  formt 
35ei  aEen  9[)^enfdf)en!inbem; 
S)a§  mad^t  alle§  unfere  ©unb; 
^ein  Un[(i)ulb  iDar  gu  finben; 
2)at)on  !am  bet  Sob  fo  6atb, 
Unb  na^m  i'tber  un§  ©eh^alt, 
^telt  un§  in  fein'm  S^t\^  G'fangcn. 

^afleluja ! 

3.  ;3eju§  e^riftuS,  ©otteg  ©o^n, 
5tn  unfer  ®tatt  ift  !ontmen, 

.  Unb  l)at  bie  ©iinb  a6getl)an. 
2)amit  bem  Sob  genommen, 
5ni  fctn  9^ecf)t  unb  fein'  ©etodt, 
®a  bletat  nid^tg,  benn  Sobf  geftalt, 
S)en  ©tad^'l  ^at  er  berloren. 
^aHe(uja ! 


/^HRIST  was  laid  in  Death's  strong 

^^  For  our  transgressions  given,  [bands 

Risen,  at  God's  right  hand  he  stands 

And  brings  us  hfe  from  heaven. 
Therefore  let  us  joyful  be 
Praising  God  right  thankfully 
Wiih  loud  songs  of  Hallelujah! 
HaUelujah! 


2.  None  o'er  Death  could  victory  win; 

O'er  all  manlynd  he  reigned. 
'Twas  by  reason  of  our  sin; 

There  was  not  one  unstained. 
Thus  came  Death  upon  us  all, 
Bound  the  captive  world  in  thrall, 

Held  us  'neath  his  dread  dominion. 
Hallelujah! 

3.  Jesus  Christ,  God's  only  Son, 

To  our  low  state  descending. 
All  our  sins  away  hath  done 

Death's  power  forever  ending. 
Ruined  all  his  right  and  claim 
Left  him  nothing  but  the  name, 

For  his  sting  is  lost  forever. 
Hallelujah! 


LUTHER  S   HYMNS 


95 


4.  (5§  toar  ein  tuunbcrlid)  Slrieg, 
S)a  Xob  unb  Ccbcn  rungen. 
S)a§  Seben  bef)ielt  ben  ©ieg: 
(S§  l^at  ben  Stob  berfc^tungen. 
©ie  ©(^rift  t)at  bcrfunbet  ba§, 
2Bic  ein  Stob  ben  anbcrn  frafe; 
©pott  Qu§  bem  Xob  ift  toorben. 

^alleluia ! 

5.  ^ier  i[t  ba§>  xedjt  0[terlamm, 
®abon  @ott  t)at  geboten. 

2)a^  ift  an  be§  ^eu^e^  ©tamm 
:gn  l^eifeer  8ie6  gebraten. 
S)e§  SBIut  geid^net  unfre  Xl)m. 
®a§  t)dU  ter  ©laub  bem  Stob  fiir. 
2)er  SBiirg'r  !ann  un§  nid^t  rul^ren. 
.^aUeluja ! 

6.  ®o  feiern  tvix  bk§>  tjod)  geft 
9Jlit  (jergenSfteub  unb  SBonne, 
S)a§  un§  ber  ^err  fcfjeinen  lafet 
(5t  tft  [elber  bie  (Sonne, 

2)er  burc^  [etner  @naben  ©lang 
(grleu(i)t't  unfre  ^ergen  gang; 
S)er  ©iinb'n  ^adjt  ift  bergangen. 
^aHeluja ! 

7.  2Bir  effen  unb  leBen  toof)l 
3n  re^ten  Cfterflaben ; 
S)et  olte  ©auertetg  nid^t  foK 
©ein  Cei  bem  2Bort  ber  ©naben. 
a:t)riftu^  toiU  bie  ^ofte  fein, 

[©peife.l 

Unb  fpeifcn  bie  ©eel  allein. 
S)er  ©lau5  toiU  fein'S  anbem  le^en, 
^aUeluja ! 


4.  Strange  and  dreadful  was  the  fray, 

When  Death  and  Life  contended; 
But  'twas  Life  that  won  the  day, 

And  Death's  dark  sway  was  ended. 
Holy  Scripture  plainly  saith, 
Death  is  swallowed  up  of  Death, 

Put  to  scorn  and  led  in  triumph. 
Hallelujah! 

5.  This  the  Paschal  Lamb,  the  Christ, 

Whom  God  so  freely  gave  us, 
On  the  cross  is  sacrificed 

In  flames  of  love  to  save  us. 
On  our  door  the  blood-mark ; — Faith 
Holds  it  in  the  face  of  Death. 

The  Destroyer  can  not  harm  us. 
HaUelujah! 

6.  Therefore  let  us  keep  the  feast 

With  heartfelt  exultation; 
God  to  shine  on  us  is  pleased, 

The  Sun  of  our  salvation. 
On  our  hearts,  with  heavenly  grace, 
Beams  the  brightness  of  his  face, 

And  the  night  of  sin  has  vanished. 
Hallelujah! 

7.  Eat  th'  unleavened  bread  to-day, 

And  drink  the  paschal  chahce; 
From  God's  pure  Word  put  away 

The  leaven  of  guile  and  malice. 
Christ  alone  our  souls  will  feed; 
He  is  meat  and  drink  indeed. 

Faith  no  other  life  desireth. 
Hallelujah! 

Tr.  uncertain. 


TN  his  Table-talks,  Luther  says,  "In  time  one  tires  of  all  hymns,  yet  this 
hymn  must  be  sung  again,  every  year/'  Its  bold  and  youthful  im- 
agery dates  it  prior  to  1524,  beyond  a  doubt.  Only  slight  traces  of  the 
"Christ  ist  erstanden"  are  retained  in  Luther's  hymn.  Stanzas  4  and  5 
are  based  on  the  sequence,  "Victimae  paschali  laudes,"  and  a  few  expres- 
sions may  have  been  suggested  by  the  "Surrexit  Christus  hodie."  These 
German  and  Latin  hymns,  with  the  Scriptural  notices  of  the  Passover 
Lamb,  furnished  Luther  with  materials  for  this  beautiful  poem,  but  their 
development  is  entirely  original ;  and  the  result  is  a  hymn  second  only  to 
his  unequalled  "Ein  feste  Burg." 


96  Luther's  hymns 

The  hymn  with  which  Luther  was  undoubtedly  familiar  is  found  in 
various,  yet  slightly  different,  readings,  in  the  12th  century: 

Christus  ist  uperstanden 
von  des  todes  banden, 
Des  soUen  wir  alle  fro  sein, 
got  will  unser  trost  sein. 
Kyrie  Eleis. 

This  is  another  of  the  early  German  hymns  which  was  sung  in  the  popular 
vernacular,  by  the  congregation,  even  where  the  Latin  Liturgy  was  in 
constant  use. 

Stanzas  1-3  point  out  that  God's  Son,  alone,  could  bring  victory,  by 
yielding  to  death  and  rising  again;  4  emphasizes  the  explanation  of  the 
second  article  of  the  Creed  which  says,  in  part,  that  He  has  rescued  us 
from  the  jaws  of  hell,  and  vanquished  and  devoured  death,  and  put  it  to 
shame.  In  his  Easter  sermon,  1526,  Luther  said,  "Satan  devours  Christ, 
but  the  morsel  lodges  in  his  throat  and  strangles  him" ;  5  points  to  Exodus 
12  :  7;  6-7  urge  men  to  approach  the  feast  with  joy,  and  refer  to  the  Com- 
munion element  as  * 'Easter-cakes,"  and  the  bread  of  sincerity  and  truth, 
1  Cor.  5  :  8. 

The  hymn  appeared  in  the  Erfurt  Enchiridion,  1524,  and  in  the 
Enchiridion  by  Olearius,  1525.  The  melody,  which  was  of  Luther's 
hand,  also  appeared  in  the  Erfurt  Enchiridion. 


LUTHER  S   HYMNS 


97 


Translations 


Sltius^  Cfjrisftuj;  uMtv  J^eilanb,  bet  ben  tCob 

Jesus  Christ,  who  came  to  save 

fC  U  3 

I N   C  TJ  •>  Title — Easter  Hymn 


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2)er  ben  Stob  ilBerruanb, 
;^ftiiuferftanben! 
S)te  ©iinb  l)at  er  gefangen. 
^tirieleifon. 

3)er  ot)n'  ©unben  tear  gcborcn 
Strug  fiir  un§  @otte§  3oi^n ; 
^at  un§  berfol^net, 
i)aB  un§  @ott  fein'  §ulb  gonnet. 

Xob,  (Siinb,  Ceben  unb  aud^  ©enob, 
2in§  in^dnben  et  l)at; 
©r  !ann  erretten 

bie  gu  i^m  treten. 
^^rieletfon. 


JESUS  CHRIST,  who  came  to  save. 
*^  And  overcame  the  grave, 
Is  now  arisen, 
And  sin  hath  bound  in  prison. 
Kyri'  Eleison. 

2.  Who  withouten  sin  was  found, 
Bore  our  transgression's  wound. 

He  is  our  Saviour, 
And  brings  us  to  God's  favor. 
K3n:i'  Eleison. 

3.  Life  and  mercy,  sin  and  death, 
AM  in  his  hands  he  hath; 

Them  he'll  deliver, 
Who  trust  in  him  forever. 
Kyri'  Eleison. 


Tr.  uncertain. 


'Y^HIS  is  an  original  hymn  of  praise,  by  Luther,  and  is  as  rich  and  pro- 
found in  sentiment  as  it  is  brief  in  form. 

The  sinless  Christ,  omnipotent  over  all  evil,  and  mighty  in  every 
grace,  has  immured  sin  and  guilt,  by  his  glorious  resurrection. 

The  fact  that  its  original  melody,  as  well  as  the  hymn  itself,  appeared 
in  the  Erfurt  Enchiridion,  1524,  shows  that  it  was  written  prior  to  this 
date.  It  appeared  in  the  hymn  book  of  Olearius,  and  in  the  Nurenburg 
Enchiridion,  of  1525. 


98 


LUTHER'S   HYMNS 


Translations-^    '  p*  tj  5 


SSiesi  ^inh  hit  ijeilgen  }ti)n  <@ebat 

That  man  a  Godly  life  might  live 

The  Ten  Commandments 


Title — A  Catechism  Hymn 

Ancient  Popular  Air. 


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ZZZZ 


ie§  finb  tie  l^eilgen  gelin  ©ebot, 
S)ie  un§  gab  unfer  ^erre  ®ott 
S)urd^  SD^ofen,  feinen  ©iener  tteu, 
§od^  auf  bem  Serge  ©inai. 
S^rieleifon. 

:g(^  Un  aHein  bein  ®ott  ber  §err 
Sein  ©otter  foUt  bu  {)a5en  mel)r. 
S)u  foKt  mir  gan^  bertrauen  bic^, 
SSon  ^ergenSgrunb  iitbtn  mid^. 
^^rieleifon. 


3.  2)u  font  ni(^t  fut)ren  au  Unel)'m 
S)en  Seamen  ®otte§,  beineS  ^errn; 
2)u  foUt  ni^t  preifen  red^t  nod^  gut, 
Df)n  n)a§  ®ott  felbft  rebt  unb  t^ut. 

^^rieleifon. 

4.  S)u  foUt  l^eilgen  ben  ftebent  Stag, 
£)afe  bu  unb  bein  ^au§>  rul^en  mog. 
2)u  [oUt  k)on  bein'm  St^un  laffen  06, 
®afe  ®ott  fein  SBer!  in  bir  t)aa. 

S^^rieleifon. 

5.  S)u  font  el)r'n  unb  geljorfam  fein 
!Dem  SBoter  unb  berHJlutter  bein 
Unb  Wo  bein'  ^anb  i{)n'n  bienen  lann, 
©0  toirft  bu  tang§  8eben  l^an. 

^^rieleifon. 


'T^HAT  man  a  Godly  life  might  live, 
■^     God  did  these  ten  commandments 
By  his  true  servant,  Moses,  high  [give 
Upon  the  mount  Sinai. 

Have  mercy,  Lord. 

2.  I  am  thy  God  and  Lord  alone, 
No  other  God  besides  me  own; 
On  my  great  mercy  venture  thee, 
With  all  thy  heart  love  thou  me. 

Have  mercy,  Lord. 

3.  By  idle  word  and  speech  profane 
Take  not  my  holy  name  in  vain; 
And  praise  not  aught  as  good  and  true. 
But  what  God  doth  say  and  do. 

Have  mercy.  Lord. 

4.  Hallow  the  day  which  God  hath  blest, 
That  thou  and  all  thy  house  may  rest; 
Keep  hand  and  heart  from  labor  free, 
That  God  may  so  work  in  thee. 

Have  mercy.  Lord. 

5.  Give  to  thy  parents  honor  due, 

Be  dutiful  and  loving  too;     [decays; 
And  help  them  when  their  strength 
So  shalt  thou  have  length  of  days. 
Have  mercy,  Lord. 


LUTHER  S  HYMNS 


99 


6.  ®u  font  nid^t  tobten  gomiglic^, 
^iid^t  l)a[fen,  nocf)  felbft  tdd^en  btd^, 
©ebulb  l)aben  unb  fanften  2)fhit^, 
Unb  aud^  beni  geinb  tl^un  baS  ©ut. 

^^rieleifon. 

7.  !5)ein  61^'  foUt  bu  6etoaf)ren  rein, 
2)afe  au(^  bein  ^erg  fein  anbre  mctn, 
Unb  flatten  !eufc^  ba§  Ceiien  bein 
mit  Sudjt  unb  2Jlafei0!eU  fein. 

^^rieletfon. 

8.  ®u  font  nid^t  fte^Ien  ©elb  noc^  @ut, 
iRid^t  tDuc^ern  jemanb^  @d)toeifeunbSSlut, 
S)u  font  auftf)un  bein  milbe  ^anb 

2)en  Strnten  in  beinem  Canb. 
S^rieleifon. 

9.  S)u  font  fein  folfd^er  QtuQt  fein, 
S^lidfitlugen  auf  bm  9^ad^ften  bein, 
©ein  Unf(f)ulb  font  and)  retten  bn, 
Unb  feine  ©c^anb  becfen  3U. 

^^rieleifon. 

10.  ®u  font  bein^  ^Rdd^ften  SBeiS  unb  $auiJ 
S3ege:^ren  nid)t,  xwdj  tttva^  bxau^x 

S)u  font  i^m  tounfd^en  ane§  @ut, 
2Bie  bir  bein  ^erg  feller  ti^ut. 
X^^rieleifon. 


ll.Sie  (Sebot  on  un§  gebenfinb, 
®afe  bu  bein  (Sunb,  o  9Jlenfd^enfinb, 
©tfennen  font  unb  lemen  toof)l, 
S33ie  man  bor  ©ott  leben  fon. 
i^^rieleifon. 


12.2)a§  fielf  un§  bet  ^ert  ^efuB  (S^xi% 
2)er  unfer  SD^ittler  toorben  ift, 
(S§  ift  mit  unferm  %i}un  betlom, 
5Serbienen  bocf)  eitel  Soxxu 
^tirieleifon. 


6.  Kill  thou  not  out  of  evil  will, 
Nor  hate,  nor  render  ill  for  ill; 
Be  patient  and  of  gentle  mood 
And  to  thy  foe  do  thou  good. 

Have  mercy,  Lord. 

7.  Be  faithful  to  thy  marriage  vows, 
Thy  heart  give  only  to  thy  spouse; 
Keep  thy  life  pure,  and  lest  thou  sin 
Keep  thyself  with  discipHne. 

Have  mercy,  Lord. 

8.  Steal  not;  oppressive  acts  abhor; 
Nor  wring  their  life-blood  from  the 
But  open  wide  thy  loving  hand  [poor; 
To  all  the  poor  in  the  land. 

Have  mercy,  Lord. 

9.  Bear  not  false  witness,  nor  belie 
Thy  neighbor  by  foul  calumny; 
Defend  his  innocence  from  blame, 
With  charity  hide  his  shame. 
Have  mercy,  Lord. 

10.  Thy  neighbor's  wife  desire  thou  not, 
His  house,  nor  aught  that  he  hath 

got; 
But  wish  that  his  such  good  may  be 
As  thy  heart  doth  wish  for  thee. 
Have  mercy,  Lord. 

11.  God    these    commandments    gave, 

therein 
To  show  thee,  son  of  man,  thy  sin. 
And  make  thee  also  well  perceive 
How  man  for  God  ought  to  live. 
Have  mercy.  Lord. 

12.  Help  us,  Lord  Jesus  Christ,  for  we 
A  Mediator  have  in  thee; 
Without  thy  help  our  works  so  vain 
Merit  naught  but  endless  pain. 

Have  mercy.  Lord. 


npHE  melody,  adapted  to  this  hymn,  is  borrowed  from  the  processional 
hyTnn  ''In  Gottes  Namen  fahren  wir,"  and  is  ascribed,  by  some 
authors,  to  the  13th,  and,  by  others,  to  the  15th  century. 


lOO 

The  first  poetical  treatment  of  the  Ten  Commandments  is  found  in 
the  12th  century.  Since  the  beginning  of  the  14th  century  the  Deca- 
logue frequently  afforded  a  theme  for  poems  which  were  sung  in  ''Extra- 
ordinary Processions,"  in  the  Romish  Church,  wherefore  each  stanza 
ends  with  "Kyrie  Eleison."  Luther  designed  his  hymn  for  the  regular 
Lord^s  Day  services.  An  ancient  stanza,  that  resembles  his  style  of  dic- 
tion, runs  as  follows: 

Gott  der  Herr,  ein  ewiger  Gott, 

Hat  uns  geben  zehn  Gebot 

Durch  die  Hand  des  Moysi 

Hoch  auf  dem  Berge  Sinai. 

Since  Luther  wrote  another  hymn,  based  on  the  Ten  Commandments, 
the  hymn  "Mensch  willt  du  leben  seliglich,"  the  two  are  distinguished,  in 
the  old  hymn  books,  as  the  "long'^  and  "short"  hymn.  This,  the  "long" 
hymn,  agrees,  like  an  echo,  with  his  sermons  on  the  Decalogue,  preached 
during  1516  and  1517.  There  are  many  similarities.  Spitta's  reference 
to  Luther's  treatment  of  the  Names  of  God  is  noteworthy.  Until  1517, 
r^p]  'p%  Adonai  Yehovah,  was  translated  "God,"  and  ^"r}\  Elohim, 
"Lord."  After  1518,  the  expression,  in  Catechetical  exercises,  is  "Deines 
Gottes,"  "thy  God,"  and,  in  the  translation  of  the  Bible,  "Des  Herrn 
deines  Gottes,"  "the  Lord,  thy  God."  Spitta's  reasons  furnish  no  abso- 
lute proof,  but  they  are  valuable  for  the  contention  that  the  hymn  was 
written  before  1524. 

After  the  13th  century,  the  Ten  Commandments  began  to  be  used,  in 
Germany,  in  the  confessional,  for  the  proper  instruction  of  children  and,  in 
later  times,  on  pilgrimages,  and  as  an  introduction  to  the  Litany. 

Stanza  1  points  to  the  Lawgiver,  through  Moses,  on  Mt.  Sinai;  2-10 
the  congregation  Hfts  up  the  mirror  of  God's  Law  that,  through  it,  she 
may  see  the  divine  will  and  her  own  sinfulness;  11  gives  knowledge  of  sin; 
and  12  pleads  with  Christ  for  grace.  In  the  exclamation,  "Have  mercy. 
Lord,"  the  Kyrie  is  appended,  to  each  stanza,  as  a  sign  that  the  will  of 
God  comprehended  in  that  commandment  is  broken,  and  the  penitent 
worshipper  pleads  for  pardon. 

The  hymn  appeared  in  the  Erfurt  Enchiridion,  1524,  under  the  title: 
"Die  zehen  gebot  Gottes,  auff  den  thon,  'In  gottes  namen  faren  wir.'  " 
It  was  also  published  by  John  Walter,  and  other  compilers. 


Luther's  hymns 


lOI 


ifMeitflJcf),  toilU  bu  leben  sJeligUcft 


Wilt  thou,  O  man,  live  happily 
The  Ten  Commandments 


Translations 


(C.  U.  1 

IN.  C.  U. 


Title — A  Catechism  Hymn 

Bohemian  Hymn  Book,  1566 


^ 


:^=^ 


^- 


-gy   ^  g- 


■&-^ 


-(&- 


t:^ 


-iS"— f- 


-(g— <?    i  (gi 


i 


-fg— 2S^ 


:^=i 


h^zi^z^ 


-& — ^s- 


enfd^,  toiUt  bu  lefien  felifilid^, 
Unb  bei  ©ott  blei£ien  eitJiglld^, 
©out  bu  i^dten  bie  ge^n  ©efiot, 
2)ie  un§  gefieut  unfer  ®ott. 

2.  ©eiu  @ott  allein  unb  ^err  Ibtn  i(^, 
^ein  anbrer  @ott  foU  irten  bid^ ; 
Slrauen  foU  mtr  ba§  ^erge  bein, 
ajlein  eigen  9^ei(^  follt  bu  fein. 

^t)rieleifon. 

3.  S)u  foUt  mein  SfJamen  el^ten  fd^on, 
Unb  in  ber  ^Jiott)  mi(ft  ruf en  an ; 
®u  foUt  l^eilgen  ben  <^ci!b'^o!Ci)=%G,% 
S)afe  id^  in  bir  toirfen  mag. 

^^rieleifon. 

4.  2)em  5Sater  unb  ber  9?lutter  bein 
®ollt  bu  naif)  mir  gel)orfam  fein  ; 
SRiemanb  tijbten  noc^  sornig  fein ;  — 
Unb  beine  @]^e  l^alten  rein. 

^^rieleifon. 

B.  2)u  font  ein'm  anbern  ftel^len  nid)t; 
9luf  niemanb  galfd^eS  geugen  nici)t; 
2)eine§  S^dd^ften  SSeifi  nic^t  begel^m, 
Unb  aE  fein'S  @ut§  gem  entbel^m. 
^^rieleifon. 

6.  5)a§  t)etf  un§  ber  ^err  ;3efu§  ©l^rift, 
!Der  unfer  2?iittler  toorben  ift, 
(5§  ift  mit  unferm  ^t)un  berlom, 
SBcrbienen  bod^  eitel  l^^xxs.. 
^^rieleifon. 


'flT'ILT  thou,  O  man,  live  happily, 
^  ^     And  dweU  with  God  eternally, 
The   ten   commandments   keep,   for 
Our  God  himself  biddeth  us.       [thus 
Kyri'  Eleison! 

2.  I  am  the  Lord  and  God!  take  heed 
No  other  god  doth  thee  mislead; 
Thy  heart  shall  trust  alone  in  me, 
My  kingdom  then  thou  shalt  be. 

Kyri'  Eleison! 

3.  Honor  my  name  in  word  and  deed, 
And  call  on  me  in  time  of  need: 
Hallow  the  Sabbath,  that  I  may 
Work  in  thy  heart  on  that  day. 

Kyri'  Eleison! 

4.  Obedient  always,  next  to  me. 
To  father  and  to  mother  be; 
Kill  no  man;  even  anger  dread; 
Keep  sacred  thy  marriage-bed. 

Kyri'  Eleison! 

5.  Steal  not,  nor  do  thy  neighbor  wrong 
By  bearing  witness  with  false  tongue; 
Thy  neighbor's  wife  desire  thou  not. 
Nor  grudge  him  aught  he  hath  got. 

Kyri' Eleison! 

6.  May  Christ  the  Lord,  aid  us  to  this; 
He  Who  our  Mediator  is.  [done 
With  our  good  acts  naught  can  be 
But  earn  chastisement  alone. 

Kyri'  Eleison! 


I02 


^HE  Wittenberg  Hymn  Book,  of  1524,  contains  the  title:  "Die  zehen 
gebot  auffs  kuertzte,"  and  the  Wittenberg  book,  of  1543,  and  Babst's, 
of  1545,  contain  this  title :  "Die  zehen  gebot  kurtzer  gefasst."  It  is  a  com- 
panion to  the  hymn:  "Dies  sind  die  heilgen  zehen  Gebot,"  and  was  writ- 
ten as  a  concise  version  of  the  Ten  Commandments,  for  catechetical  use. 
Its  contents  are  impersonal  in  character  and,  it  seems  safe  to  suppose,  it 
was  written  after  its  companion. 

Olearius,  in  his  Treasury  of  Hymns,  Vol.  Ill,  defends  Luther  against 
a  misconception  of  the  first  stanza,  as  though  a  man  could  live  the  life  of 
the  blessed,  and  abide  with  God  forever,  through  the  works  of  the  Law. 
He  says,  "He  who  has  no  desire  to  keep  the  Commandments  and,  in 
harmony  with  their  teaching,  to  show  his  faith  by  his  love  to  God  and 
his  neighbor,  in  a  practical  way,  can  not  Uve  the  life  of  the  blessed,  whether 
in  the  kingdom  of  grace  or  the  kingdom  of  glory  and  honor." 

Stanza  1  urges  the  keeping  of  the  Commandments;  2  the  first  Com- 
mandment; 3  the  second  and  third;  4  the  fourth,  fifth  and  sixth;  5  the 
seventh,  eighth,  ninth  and  tenth;  6  implores  the  aid  of  Christ,  for  the 
keeping  of  the  Law,  but  is  not  found  in  the  original  manuscript. 

Besides  the  publications  already  named,  this  hymn  appeared  in 
Walter's  book,  of  1525,  the  Wittenberg  Hymn  Book,  of  1525,  and  the 
Treasury,  Vol.  II,  by  Olearius,  1525. 


LUTHER  S  HYMNS 


103 


3fefi(ufi;  Ci)ri£(tu£;  uns^ec  ^tilanh,  bet  bon  uns; 

Christ,  who  freed  our  souls  from  danger 

Jesus  Christus  nostra  solus 
^  (C.  U.  2  ^  (A  Catechism  Hymn 

Translations|j^_  C.  U.  7  TitlesJ^  Communion  Hym 


Hymn 


John  Walter,  1524 


mm. 


-^at 


-(2- 


-s^ 


:^ 


-s^- 


4-^ 


tn 


% 


■X=.-:X 


^      1      I      1 


=^ 


-s^-^ 


?~^    ^    ^ 


■25^ 


■^        ^        gl 


1 ^- 


T^l 


P        1^1 


1=q: 


I 


^—55^ 


J 


efu§  S^riftu§,  imfer  ^eitanb, 
2)er  t)on  un§  ben  @otte§  30^^  toanbt, 
S)ur(^  ba§  bitter  Ceiben  fein 
^alf  er  un§  au^  ber  ^oHen  ^etn. 


/^HRIST,  who 
^^      danger, 


ISQ- 


freed  our  souls  from 


And  hath  turned  away  God's  anger, 
Suffered  pains  no  tongue  can  tell, 
To  redeem  us  from  pains  of  hell. 


5)afe  iDtr  ntmmcr  be§  bergeffcn, 
@a5  er  un§  fein  Ceib  ^u  effen, 
5Ser6orgen  im  S3rot  fo  flein, 
Unb  au  trin!en  fein  S3lut  im  SBeitt. 


2.  That  we  never  might  forget  it. 
Take  my  flesh,  he  said,  and  eat  it, 
Hidden  in  this  piece  of  bread, 
Drink  my  blood  in  this  wine,  he  said. 


3.  SKer  fid^  gu  bem  ^ifd^  totll  madden, 
5)er  f)ab  tt)of)I  d^i  auf  fein  ©ai^en; 
$3er  untoiirbiG  l^inauge^t, 
giir  ba§  Seben  \itxi  Stob  em^fd^t. 


3.  Whoso  to  this  board  repaireth. 
Take  good  heed  how  he  prepareth; 
Death  instead  of  life  shall  he 
Find,  who  cometh  unworthily. 


4.  2)u  foUt  @otl  ben  5Sater  ^reifen, 
2)afe  er  bid^  fo  too^^l  hJoUt  fpeifen 
Unb  fiir  beine  SJliffet^at 
i^n  htxi,  Stob  fein'n  (So{)n  'geben  \)0,i. 


4.  Praise  the  Father,  God  in  heaven, 
Who  such  dainty  food  hath  given. 
And  for  misdeeds  thou  hast  done 
Gave  to  die  his  beloved  Son. 


5.  S)u  foUt  glauben  unb  nid^t  toanfen, 
®afe  e§  fet  ein  ©pei§  ben  ^ranfen 
©eren  ^erg  bon  (Siinben  fdfitoer, 
Unb  bor  Stngft  ift  betriibet  fe^r. 


5.  Trust  God's  Word;  it  is  intended 
For  the  sick  who  would  be  mended; 
Those  whose  heavy-laden  breast 
Groan  with  sin,  and  are  seeking  rest. 


6.  (So(c^  grofe  ©nab  imb  SBarm^crjigfeit 
©ud)t  ein  ^erj  in  grower  2lrbeit; 
^ft  bir  too!^I,  fo  bleib  babon, 
2)a&  bu  nidt)t  frieoeft  bofen  8o^n. 


6.  To  such  grace  and  mercy  turneth 
Every  soul  that  truly  mourneth; 
Art  thou  well?     Avoid  this  board. 
Else  thou  reapest  an  ill  reward. 


I04  LUTHER  S  HYMNS 

7.  (5r  fpri{f)t  felDer:  lommt,  il)x  Slnnen,  7.  Lo!  he  saith  himself,  "Ye  weary, 
Cafet  mic^  iiber  eud^  ertiarmeni  Come  to  me,  and  I  will  cheer  ye"; 
^ein  ^Trgt  t[t  bcm  @tar!en  notf).                       Needless  were  the  leech's  skill 

©cin  ^n[t  toirb  an  it)m  gar  ein  <Spott.  To  the  souls  that  be  strong  and  well. 

8.  ^attft  bu  bir  toa§  fonn'n  crh3er5en,  8.  Couldst  thou  earn  thine  own  salvation, 
S»a§  burft  ic^  benn  fur  bid^  fterfien?  Useless  were  my  death  and  passion; 
©iefer  Xm  (^^^  bir  nid^t  gilt,                         Wilt  thou  thine  own  helper  be? 

©0  bu  feI6er  btr  lielfen  tviUt  No  meet  table  is  this  for  thee. 

9.  ©laubft  bu  ba§  t)on  ^er^en^Grunbe,  9.  if  thou  this  believest  truly, 
Unb  ^efenneft  mit  bent  9}tunbe,  And  confession  makest  duly, 
(So  bift  bu  x^d}t  too^l  gefc^itft.                            Thou  a  welcome  guest  art  here, 
Unb  bie  (Speife  bein  (Seel  erquicft.                      This  rich  banquet  thy  soul  shall  cheer. 

10.!J)te  grud^t  \oU  a\X^  md)t  au^bletfieu,  10.  Sweet  henceforth  shall  be  thy  labor, 

2)einen  S^ad^ften  follt  hn  Iteben,  Thou  shalt  truly  love  thy  neighbor. 

®ofe  er  bein  gentefeen  fann.  So  shall  he  both  taste  and  see 

mt  bein  ©ott  an  bir  l)at  Qttf)an.  what  thy  Saviour  hath  done  in  thee. 

T  UTHER'S  poem  is  not  an  improvement  of  the  hymn  by  John  Huss, 
but  a  new  invention  for  which  the  Latin  hymn  afforded  the  theme  and 
inspiration.     The  first  and  the  last  stanzas  of  Huss'  hymn  read  thus : 

JHesus  Christus,  nostra  salus 
quod  reclamat  omnis  malus, 
Nobis  in  sui  memoriam 
dedit  in  panis  hostiam 

Caro  cibus'  sanguis  vinum 
est  misterium  divinum: 
Tibi  sit  laus  et  gloria 
in  seculorum  secula. 


Excepting  the  first  two  stanzas,  there  is  scarcely  a  thought  in  Luther's 
hymn  whose  similarity  to  the  Latin  may  be  traced.  That  Luther  took 
a  decided  stand  for  the  distribution  of  both  elements,  bread  and  wine,  in 
the  Communion,  at  a  recent  date,  affords  good  reason  for  the  late  dating 
of  the  h3rmn.  While  the  hymn  of  the  Bohemian  Reformer  contained  a 
dogmatic  explanation  of  the  elements  of  the  Lord's  Supper,  Luther's 
hymn  offers  knowledge  concerning  its  significance  and  use,  and  therefore 
affords  the  individual  an  important  preparation  for  a  worthy  reception. 
No  doubt,  for  a  long  while,  the  hymn  was  sung  in  both  the  Bohemian  and 


Both  Elements  in  Holy  Communion. 

Designed  by  Gustav  Koenig. 


Luther's  hymns  105 

Latin  tongue.     A  melody  adapted  to  it  in  1524  is  of  an  old  Bohemian 
origin  (Doric)  and  begins  thus: 


%^?i^s^^t^t^^4^^ 


The  contents  of  the  hymn  are  developed  through  certain  questions 
and  answers  of  the  Catechism.  Stanzas  1,2,  Why  was  the  Sacrament  of 
the  Altar  instituted?  As  a  token  of  remembrance  (Denkring),  of  the  love 
of  the  Bridegroom,  as  a  motive  to  secure,  for  us,  the  forgiveness  of  sins, 
life  and  salvation;  4—9,  Who  receives  such  Sacrament  worthily?  He 
who  feels  that  he  still  bears  flesh  and  blood  in  his  person  and  therefore 
needs  repentance,  and  he  who  believes  in  Jesus,  his  works  and  words; 
10,  What  must  be  the  fruits  of  a  worthy  reception  of  the  Holy  Supper? 
Love  for  thy  neighbor,  that  he  may  rejoice  in  thee.  This  means  a  new 
obedience,  and  the  fruits  of  righteousness. 

Rev.  3  :  17  offers  a  strong  commentary  on  the  sixth  stanza. 

The  hymn  appeared  in  the  Erfurt  Enchiridion,  and  Walter's  book,  of 
1524,  and  in  nearly  all  subsequent  editions  of  hymn  books. 


io6 


LUTHER'S  HYMNS 


(C   U   2 

Translations -j  >t*  p'  tt  5 


^ott  siti  gelobet  unb  gebenebeiet 
May  God  be  praised  henceforth  and  blest  forever 

Titles!^  Catechism  Hymn 

lA  Post-Communion  Hymn 


John  Walter,  1524 


v3li3U-J-^ J  f  !>  f  r  ^— ^ 


■z^ 


-IS)- 


^^^ 


I     I     I 


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^    gi 


i 


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:^=^ 


Tt^t 


^==1: 


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I 


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-«B- 


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-z^ 


ott  fei  gelofiet  unb  gebenebetet, 
2)er  un§  felber  l^at  gef^^eifet 
2Jitt  feinem  gleif^e  unb  mtt  f  einem  SBlute, 
2)0^  gteb  un§,  §err  @ott,  gu  gute. 

^^rieletfon. 
^err,  bmd)  beinen  tieiltgen  CeidEinam, 
S)er  bon  beiner  9J^atter  2Jlaria  fam, 
Unb  ba^  ^eiltge  SBlut, 
§ilf  ung,  §err,  au§  diet  9^ot^. 

^^rieteifon. 


TV/fAY  God  be  prais'd  henceforth  and 
blest  forever! 
Who,  himself  both  gift  and  giver, 
With  his  own  flesh  and  blood  our 

souls  doth  nourish; 
May  they  grow  thereby  and  flourish! 

Kyri'  Eleison! 
By  thy  holy  body,  Lord,  the  same 
Which  from  thine  own  mother  Mary 
By  the  drops  thou  didst  bleed,  [came, 
Help  us  in  the  hour  of  need! 
Kyri'  Eleison! 


2.  ®cr  l^eitge  Ceid^nam  ift  fiir  un§  gcgcficn, 
3um  Xob,  ha^  loir  baburd^  (eben 
S^ic^t  grofere  ©iite  !onnte  er  un§  [c^enten, 
S)abci  tvix  [olln  [ein  geben!en. 

^^rietei[on. 
^crr,  bein  8teb  fo  grofe  bid^  gioungen  l^ot, 
2)aB  bein  S5lut  an  un§  grofee  2Bunber  t^at, 
Unb  begal^It  unfre  ©c^iilb, 
.     2)afe  un§  ©ott  i[t  toorben  l^ulb. 

^^rieleifon. 


2.  Thou  hast  to  death  thy  holy  body 
Life  to  win  for  us  in  heaven;  [given, 
By  stronger  love,   dear  Lord,  thou 

couldst  not  bind  us. 
Whereof  this  should  well  remind  us. 

Kyri'  Eleison! 
Lord,  thy  love  constrained  thee  for 

our  good 
Mighty  things   to  do  by  thy  dear 

blood ; 
Thou  hast  paid  all  we  owed, 
Thou  hast  made  our  peace  with  God. 
Kyri'  Eleison! 


I07 

3.  ©ott  GeB  un§  alien  fciner  ©naben  (Segen,     3.  May  God  bestow  on  us  his  grace  and 
2)aB  tDir  0el)n  auf  feineu  Si^coen,  blessing, 

Qn  red)ter  Steb  unb  £)ruberlid)er  Slreue,  That,  his  holy  footsteps  tracing, 

S)aB  un^  bie  epei^  ntc^t  fierme.  We  walk  as  brethren  dear  in  love  and 

^rielei[on.  union, 

^err,  bein  l)eU9er  @ei[t  m§>  nimmer  lafe,  Nor  repent  this  sweet  communion. 

S)et  un§  geiie  5U  f)atten  recite  2Jlaau ;  Kyri'  Eleison ! 

Safe  bein  arm  ©Ijriften^eU  Let  not  us  the  Holy  Ghost  forsake; 

Seb  in  ^xieb  unb  etnigfett  May  he  grant  that  we  the  right  way 

^^ricletfon.  take; 

That  thy  poor  church  may  see 
Days  of  peace  and  unity. 
Kyri'  Eleison! 

n^HE  first  stanza  of  this  hymn  originates  from  the  5  th  century  and  was 
retained  unchanged  by  Luther.  To  it  he  added  two  original  stanzas. 
The  character  of  the  hymn  is  impersonal,  and  it  belongs  to  a  recent  date. 
It  was  designed  as  a  post- Communion  H^inn,  a  song  of  praise  following 
the  reception  of  the  Body  and  Blood  of  Christ.  The  melody  is  composed 
of  joyous  strains  which  the  Roman  congregation  sang  responsively  with 
the  choir.  It  was  also  sung  by  the  congregation,  after  the  Epistle,  on 
Corpus  Chris ti  Day. 

Stanzas  1-2  give  thanks  for  the  great  grace  by  which  Christ  gave  his 
flesh  and  blood  to  all  penitent  and  believing  souls,  and  for  his  great  love 
manifested  by  his  bringing  Hf e  out  of  death ;  3  breathes  the  heartfelt  peti- 
tion that  the  Lord  might  bless  the  reception  of  his  feast  unto  a  proper  walk 
in  hfe,  and  growth  in  love  of  all  men. 

The  hymn  appeared  in  the  Erfurt  Enchiridion,  and  Walter's  book,  of 
1524,  in  Michael  Veh's  book,  of  1537,  and  later  pubHcations. 


io8 


LUTHER'S  HYMNS 


3t^aia,  bent  ^ropfjeten,  bas(  gefifcljali 

These  things  the  Seer  Isaiah  did  befall 

The  German  Sanctus 

Isaiah  6  :  1-4 

Translations  j^*  C  U  6  Title— The  German  Sanctus 


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g)     g     <y     <^     g) — ($>- 


ffi 


ifefaia,  bem  ^rop^icten,  ba§ 

®afe  et  im  ®eift  ben  ^erren  [i^en  fa^ 
5luf  einem  ^o^en  SCtiron  in  ^ellem 

©lang, 
(Seined  ^'leibe§  ©aunt  ben  ^or  fiilletv 

gang. 
@§  ftunben  gttJcen  ®er(4)^  bei  it)m  baran, 
(Sed)§  gtiigel  fat)  er  cinen  jeben 

l)an, 


'T^HESE  things  the  seer  Isaiah  did 
-■■      befall: 
In  spirit  he  beheld  the  Lord  of  all 
On  a  high  throne,  raised  up  in  splendor 

bright, 
His  garment's  border  filled   the  choir 

with  light.  [had 

Beside  him  stood  two  seraphim  which 
Six  wings,  wherewith  they  both  alike 

were  clad; 


ma  5toeen  htxtax^m  fie  it)x  ^ntlitj  with  twain  they  hid  their  shining  face, 

^t^t,  with  twain 

Tin  atoeen  feebecften  [ie  tie  gufec  They  hid  their  feet  as  with  a  flowing 

Gar.  train,                                                  [fly. 

Unb  mit  ben  anbem  atoeen  fie  flo^en  fret.  And  with  the  other  twain  they  both  did 

®en  anber  riefen  fie  mit  grofeent  @'fd)rei:  One  to  the  other  thus  aloud  did  cry: 

|)eiag  ift  ©ott,  ber  ^erre  Stbaoti)l  Holy  is  God,  the  Lord  of  Sabaoth! 

C>eiag  ift  @ott,  ber  ^erre  3e6aotf) !  Holy  is  God,  the  Lord  of  Sabaoth! 

C)eiag  ift  @ott  ber  i^erre  Bebootl)!  Holy  is  God,  the  Lord  of  Sabaoth! 

(Sein  (g^r  bie  gan^e  2Bett  erfiiltet  t)atl  His  glory  fiUeth  all  the  trembling  earth! 

SSon  bem  ©'fdjrei  aittert  (5d)tx)eU  unb  S3alfen  With  the  loud  cry  the  posts  and  thresh- 

0ar,  olds  shook, 

®a§  ^au§>  auc^  gana  boll  0iaurf)§  unb  9^ebel  And  the  whole  house  was  filled  with  mist 

tear.  and  smoke. 


ACCORDING  to  the  ritual  directions  of  the  "Deudsche  Messe,"  in 
the  Holy  Communion,  the  bread  was  first  consecrated  and  received 
by  the  communicants;  then  the  "Sanctus,"  or  Luther's  '^Gott  sei  gelobet," 
or  ''Jesus  Christus  unser  Heiland,"  was  sung.  After  this  the  wdne  was 
consecrated  and  administered. 

The  Wittenberg  Kirchen  Ordnung,  1559,  places  the  h>Tiin,  in  the 
Communion  Service,  immediately  after  the  Salutation  and  the  Prefatory 
Sentences,  i.  e.,  it  was  sung  before  the  Lord's  Prayer  and  the  Words  of 
Institution  were  spoken.  The  Agnus  Dei  was  frequently  sung  after  the 
distribution. 

Luther's  melody  was  pronounced  a  splendid  representation  of  our 
Protestant  cultus  and,  sung  by  the  choir,  it  stirred  a  profound  impulse 
for  worship.  In  the  Sanctus  the  seer  beholds  his  Lord  in  glory  so  expan- 
sive that  it  filleth  all  space;  and  angel  choirs  vie  with  one  another  in 
chanting  his  praises. 

The  Sanctus  was  published  in  Luther's  German  Mass,  1526,  in  the 
Erfurt  Enchiridion,  of  1527,  in  the  Rostock  Order,  of  1531,  and  other 
publications. 


no 


Luther's  hymns 


Verlei!)  unsJ  Jfrieben  gnabiglicf) 

In  these  our  days  so  perilous 

Da  pacem  Domine 

2  Kings  20  :  19;  2  Chron.  20  :  12,  15; 

Psalm  122  : 6 


Translations — From  Luther,  6 

MELODY 


(.Hymn  for  Pea 


Peace 


i 


I 


m 


^ 


is: 


i 


i 


fet 


:£ 


:3r5 


3=£ 


-^»- 


t^ 


erlei!^  un§  grieben  gnabigltd^, 
^err  ®ott,  gu  unfem  3etten. 
@§  ift  bod^  ta  fein  anbrer  ntd^t, 
®er  fur  un§  !6nnte  ftreiten, 
2)enn  bu,  unfer  ®ott,  aUeine. 

3ufal3. 

®ib  unfenn  ^onig  unb  aller  Obrififett 

grieb  unb  gut  9^egiment, 

Dafe  lt)ir  unter  il^nen 

@in  gerul)ige§  unb  ftiUeS  Se6en  ful^tcn 

mogen 
^n  afler  ©ottfeligf eit  unb  e^rftar!cit. 

Slmen. 


TN  these  our  days  so  perilous, 
•^  Lord,  peace  in  mercy  send  us; 
No  God  but  thee  can  fight  for  us, 
No  God  but  thee  defend  us; 

Thou  our  only  God  and  Saviour. 


Grant  our  king  and  aU  in  authority 

Peace  and  a  proficient  rule; 

That  we  may  lead  a  quiet  and  peaceable 

life. 
In  all  godliness  and  honesty. 

Amen. 


'T^HIS  is  an  Antiphone,  of  the  6th  or  7th  century,  ascribed,  by  some,  to 
Gregory  the  Great.     In  conformity  with  an  order  of  Pope  Nicholas 
III,  1279,  this  hymn  was  sung  at  every  Mass,  before  the  Agnus  Dei,  and 
was  famiUar  to  the  German,  in  these  words: 

Gieb  Frieden,  o  Herr,  in  unsern  Zeiten, 

Halleluja. 
Denn  es  ist  kein  andrer,  der  fuer  uns  streite, 
Als  du  allein,  unser  Gott, 

Halleluja. 


Luther's  hymns  hi 

During  uprisings  of  the  Turks  and  many  threatened  massacres,  Luther 
translated  this  stanza,  1529,  into  a  form  suitable  for  Protestant  worship. 
In  a  few  publications  it  appeared  as  the  last  stanza  of  Luther's  ''Erhalt 
uns  Herr  bei  deinem  Wort." 

In  the  book  entitled:  ^'Geistliche  Ueder  auffs  new  gebessert  zu  Wit- 
tenberg, 1531"  the  following  lines  appear  over  Luther's  name: 

Verley  uns  frieden  gnediglich, 
Herr  Got,  zu  unsern  zeiten. 
Es  ist  ya  kein  ander  nicht 
Der  fuer  uns  kuende  streiten 
Denn  du  unser  Gott,  alleine. 
Gott,  gib  frid  in  deinem  lande, 
Glueck  und  heil  zu  allem  stande. 

"Herr  Gott,  hymelischer  Vater,  der  du  heiligen  mut,  guten  Rad,  und 
rechte  werke  schaffest,  Gib  deinen  dienern  friede,  welchen  die  welt  nicht 
kan  gebe,  auff  das  unsere  hertzen  an  deinen  gepoten  hange  un  wir  unser 
zeit  durch  deinen  schutz  stille  und  sicher  fur  feinde  leben,  Durch  Jesu 
Christ,  deine  son,  unsern  Herren  Amen." 

In  the  ^Taris  Bre\dary,"  of  1643,  the  antiphone  is  given  along  with  a 
collect  for  Peace  which  occurs  in  the  "Sacramentary"  of  Gelasius,  A.  D. 
494,  as  a  ''Commemoratio  de  pace  per  annum." 

''Verleih  uns  Frieden  gnaedighch"  was  prepared  by  Luther,  first  in 
prose,  in  1527  (Koch),  and  then  in  metrical  form,  in  Klug's  book  of  1529. 

A  second  stanza,  not  by  Luther,  based  upon  1  Tim.  2  :  2,  and  composed 
purely  of  the  words  of  Scripture,  is  appended: 

Gib  unserm  Koenig  und  aller  Obrigkeit 

Fried  und  gut  Regiment, 

Dass  wir  unter  ihnen  ein  geruiges 

und  stilles  Leben  fuehren  moegen 

in  aUer  Gottseligkeit  und  Ehrbarkeit.     Amen. 

In  many  districts  of  Germany,  Luther's  stanza  was  simg  immediately 
after  the  sermon,  either  separately  or  in  connection  with  the  hymn,  '^Er- 
halt  uns  Herr  bei  deinem  Wort." 


112 


LUTHER  S  HYMNS 


J^etr  (gott,  bjcf)  loben  ttiit 

Lord  God,  thy  Praise  we  sing 

Te  Deum  Laudamus 


Translations - 


fC.  U.  10 

In.  C.  U.  12 

2)er  erftc  ©fior. 


St 


^^^^ 


-z:^       g; 


i^^ 


^ — s^ 


g^         <SJ 


^ 


(g     p     (g — ^     ^    eJ    &> 


^ 


:^ 


^err  ®ott,  bid^  lofien  toir 
S)ic^,  SSater  in  6tt)ig!ett, 
91U  ©ngel  unb  §immel§*§ecr 
5lu(^  ®E)erubim  unb  @erc4)]^im 
^eilig  ift  unfer  @ott. 


Title— The  Te  Deum 


i^ 


i 


i 


:^=^ 


:^=^ 


X    ^    ^-    ^_-g^-^- 


t^ 


1^=^ 


pi 


JEEi 


:^ 


-Z7- 


^erx  @ott,  n)ir  banfen  birl 
(5^rt  bie  Sett  toeit  unb  dreit. 
Unb  toa^  bienet  beiner  (5f)r, 
(Singen  intmer  mit  ^o^er  <Stimm: 
^eilig  ift  unfer  ®ott. 


SBeibe  ^\Qxt. 


\^ 


:e 


^eilig  ift  un(et  ©ott,  bet  ©ette  gefiaot^l 


i 


-ft    <:f    (i 


^ 


i^i^: 


3)ein  gottlic^  HJlad^t  unb  ^ertlic^!ett 


i 


■g)  g^ 


:^=^ 


:^=^ 


®e^t  u6cr  ^tmmel  unb  ©rbcn  n)eit 


Luther's  hymns 


113 


Lord  God,  thy  Praise  we  sing 
Te  Deum  Laudatnus 


Translations 


fC.  U.  10 

In.  c.  u. 


12 


Title— The  Te  Deum 


^ 


First  Choir 

-, — , — u 


^^ 


■^2- 


:^ 


:^ 


^ 


s: 


t=t 


^ 


(^      «g     .^      <g    aj    s^ 


Second  Choir 


^^ 


3=t 


i^ 


J    &^ 


:^ 


i 


5=q: 


:^=^ 


;4-^^ 


:i=4: 


^ 


-^    ^    -^ 


^=rq 


-fi»— 


Lord  God,  thy  praise  we  sing; 
Father  in  eternity, 
Angels  all  and  heavenly  host 
Both  Chreubim  and  Seraphim 
Holy  art  thou,  our  God! 


mm 


:^ 


^ 


-^T 


Lord  God,  our  thanks  we  bring; 

All  the  wodd  worships  thee. 

Of  thy  glory  loudly  boast; 

Sing  ever  with  loud  voice  this  hymn: 

Holy  art  thou,  our  God! 


Both  Choirs 


^ 


s^ 


-^ 


1 ' 

Holy  art  thou,  our  God,  the  Lord  of  Sabaoth! 


i 


(^      (^      (^      ^      rJ      ^ 


gJ     &i 


-^ ^ 1 

Thy  majesty  and  Godly  might 
8 


f 


^    ^    ^ 


I       I       I 


i   J    1     !    I 


Fill  the  earth  and  all  the  realms  of  light. 


114 


LUTHER^S  HYMNS 


^ 


©cr  crftc  S^or. 


-^ 


-t-t-t 

<^    e)    g^ 


S)er  l^ciligen  ghjolf  S3oten  3ct^l 
5)ie  tijeurcn  SJiartrer  allaumal 
S)ie  ganae  toext^e  (S^riften^eit 


i 


S)cr  atocitc  Sl^ot. 
-^ 1- 


I       I       1 


:^=^ 


Unb  bie  Uefien  ^ropf)eten  all, 
Cofien  bi(^,  .^err,  mit  grofeem  ©c^all. 
O^u^^mt  bid^  auf  ©rben  allegeit. 


-4- 


i 


i 


* 


-f2 ^2 ^ ^ 


I^ 


-/^ g'— gj -g^ 


^ ^     ^     g- 


I   i      i      i    i 


-Z5^ 


■4 1- 


^   ^   ^     ^- 


®i(^,  @ott  SSater  im  l^od^ften  '£t)ton 
2)en  Ijeiligen  ©eift  unb  Stro[ter  n^ertl^ 
3)u  S^onig  ber  @t)rcn,  ^e[u  et)rtft. 


:t=1: 


-g<    ^^ 


gj    gj 


* 


i 


i 


I       I       I      I 


4-4- 


-3^ 25^- 


A      g^      ^ 


-^-#- 


:^=^ 


4 — I- 


-7^ g^ 


-J^ 


4-4- 


~rir 


t=^ 


5=T 


:^ 


S)einen  red^ten  unb  einigen  ©o^n. 
W\i  re(^tem  2)ieii[t  fie  lo5t  unb  el)rt. 
(^ott  53ater§  emiger  (Solin  bu  6ift; 


i 


4 V 


-g^ 


■^==^- 


-&- 


^=^ 


-&i_^ 


S)er  Qungfrau  8eib  nid^t  l)a[t  berfc^md^t, 
2)u  I)aft  bem  ^ob  ^erftort  fein  90flacl)t 
S)u  fi^ft  aur  IRed)ten  @otte§  gletc^ 
(Sin  Sliditer  bu  gufimftig  5ift 


i 


I     I     I 


3u  'rtofen  bo§  menfd^ltcl)  ©efc^led^t; 
Unb  all  S^riften  ^um  §immel  brac^t; 
m\i  aller  @t)r  in§  S3ater§  3?eid^ ; 
5llle§,  ba§  tobt  unb  lebenb  ift. 


i 


i=^ 


i 


4=q: 


=^ 


1=q: 


-T^ 


-^- 


-25^ 


^=:^ 


-3*— «5»- 


^=^-:^ 


9?un  l^ilf  un§,  ^err,  ben  S)ienem  bein, 
Cafe  un§  im  gimmel  l^aben  t^eil 
^ilf  beinem  3Sol!,  .^err  i^efu  ^\ft\\i, 


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Luther's  hymns 


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The  twelve  apostles  join  in  song 
The  martyrs'  aoble  army  raise 
The  universal  Church  doth  thee 


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With  the  dear  prophets'  goodly  throng* 
Their  voice  to  thee  in  hymns  of  praise, 
Throughout  the  world  confess  to  be 


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The  Comforter,  ev'n  the  Holy  Ghost, 
Thee,  King  of  all  glory,  Christ,  we  own 


Thy  worthy,  true,  and  well-beloved  Son, 
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Th'  eternal  Father's  eternal  Son. 


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Thou  overcamest  death's  sharp  sting, 
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Thou  shalt  in  glory  come  again. 


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The  Virgin  Mary's  womb  abhorred; 
Believers  unto  heaven  to  bring; 
In  th'  glory  which  the  Father  had 
To  judge  both  dead  and  living  men. 


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Thy  servants  help  whom  thou,  O  God, 
Grant  that  we  share  the  heav'nly  rest 
Help  us,  O  Lord,  from  age  to  age, 


Hast  ransomed  with  that  precious  blood; 
With  the  happy  saints  eternally  blest. 
And  bless  thy  chosen  heritage. 


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vl  *  «  men. 

TpHE  gradual  development  of  this  truly  catholic  hymn,  a  hymn  adapted 
to  profitable  use,  by  all  Christendom,  because  of  its  breathing  a  truly 
Christian  spirit  which,  also  in  Luther's  poetical  works,  lost  nothing  of  its 
original  force,  may  be  traced  back,  in  the  Greek  Church,  to  the  3d  century. 
Bishop  Ambrose  of  Milan  (d.  397)  found  it  substantially  complete,  already 
in  his  time,  and  translated  it  into  Latin,  in  which  form  it  gained  the  widest 
circulation.  This  Ambrosian  hymn  has  never  ceased  in  the  Matins  of 
the  Lord's  Day.  An  exhaustive  discussion  of  the  authorities,  texts,  title, 
date  and  authorship,  origin  and  intention,  versions,  liturgical  uses,  musical 
settings,  etc.,  would  fill  a  small  voliune.  Julian  declares  it  the  most 
famous  non-Biblical  hymn  of  the  Western  Church,  intended,  originally, 
for  daily  use  at  Matins.     He  says  it  is  unknown  in  the  Eastern  Church, 


Luther's  hymns 


117 


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Lord  God,  we  praise  thee,  day  by  day, 


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And  lift  them  up  forevermore. 
And  sanctify  thy  name  alway. 


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Keep  us  this  day,  and  at  all  times 
For  mercy  only,  Lord,  we  plead; 
Show  us  thy  mercy.  Lord,  as  we 


From  secret  sins  and  open  crimes; 
Be  merciful  to  our  great  need. 
Our  steadfast  trust  repose  in  thee. 


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In  thee,  Lord,  have  we  put  our  trust;         O  never  let  our  hope  be  lost! 


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Amen. 

although  the  first  ten  verses  of  it  are  extant  in  Greek.  It  is  known  to 
have  been  used  in  the  West,  before  the  reading  of  the  Gospel  lessons,  as  a 
hymn  for  Sunday  Matins,  since  the  close  of  the  5th  century.  A  discus- 
sion, by  Mr.  Gibson,  shows  that  the  last  verses  are  sentences,  mainly, 
of  the  Scriptures:  seven  from  the  Psalter,  and  one  from  Daniel.  Only 
one:  "Vouchsafe,  O  Lord,  to  keep  us  this  day  without  sin"  is  non-Biblical. 
This,  together  with  a  number  of  sentences  from  the  Psalter,  is  taken  from 
the  very  similar  antiphonal  sentences  at  the  close  of  the  Greek  "Morning 
Hymn,"  generally  known  as  the  "Gloria  in  Excelsis." 

This  ancient  "Hymn  of  Praise,"  to  the  Triune  God,  is  a  remnant,  in 
our  Protestant  Church,  of  the  responsive  song  of  two  choirs,  which  can 
easily  be  restored.     The  hymn  begins  by  glorifying  the  Trinity,  and 


ii8  luther's  hymns 

closes  with  an  humble  petition  for  grace  and  protection.  Toward  the 
close  of  the  first  half  of  the  hymn,  the  organ  is  silenced  and,  while  the 
bells  are  being  tolled,  the  choirs  sing: 

First  Choir,  "Holy  art  thou,  our  God! 
Second  Choir,  "Holy  art  thou,  our  God! 
Both  Choirs,  "Holy  art  thou,  our  God! 
The  Lord  of  Sabaoth!" 

The  following  lines  are  sung  in  the  same  manner: 

Thy  servants  help  whom  thou,  O  God, 
Hast  ransomed  with  thy  precious  blood. 

He  who  plunges  into  the  sublime  depths  of  this  hymn  and  sings 
heartily,  with  the  assembled  congregation,  on  high  festival  occasions, 
must  surely  feel  as  if  the  earth  had  been  hf ted  up  into  the  church  on  high, 
where  triumphant  songs  of  praise  to  God  never  cease.  The  mundane  and 
the  celestial  are  combined  in  spirit,  and  the  lowly  of  earth  join  the  hosts  of 
heaven  in  glorifying  God.  Special  emphasis  is  laid  upon  the  praises  to  the 
blessed  Saviour;  for  his  great  love  that  moved  him  to  redeem  man;  for  his 
humility,  his  victory  and  his  glorification.  Having  seen  and  tasted  the 
glory  of  the  Lord,  the  humble  worshipper,  returning  to  himself,  finds  good 
cause  for  the  petitions  for  grace  and  protection. 

The  shorter  song  of  praise  to  the  Holy  Trinity,  in  common  use  in  the 
Church,  is  the  familiar  "Allein  Gott  in  der  Hoeh  sei  Ehr,"  which  is  also 
a  hymn  from  an  oriental  source. 

The  painstaking  and  accurate  translation,  of  the  "Te  Deum,"  by 
Luther,  characterizes  it  as  a  congregational  hymn  of  great  value.  The 
effective  "Holy,"  repeated  three  times,  recalls  the  German  Sanctus.  A 
reference  to  Luther's  letter  to  Crodelius  leads  to  the  supposition  that 
Luther  prepared  his  hymn  during  1528.  It  appeared,  in  Walter's  book, 
in  1529,  and  in  King's  book  of  that  year,  and  1535. 

According  to  an  ancient  custom,  at  Magdalene  College,  in  Oxford,  the 
"Te  Deum"  is  still  sung,  in  Latin,  upon  the  tower  of  the  administration 
building,  at  the  dawn  of  "May-Day." 


LUTHER  S   HYMNS 


119 


Translations 


(C.  U.  3 

(N.  C.  U.  7 


^ater  unsfer  im  J^immelreicft 
Our  Father,  thou  in  heaven  above 

The  Lord's  Prayer 

Title — A  Catechism  Hymn 


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^ater  unfer  tm  ^immetreid^, 

SSriiber  [ettt  unb  btd^  rufen  an, 
Unb  tt)illt  ba§  33etcn  ton  un§  f)an: 
®teb,  bafe  nidf)t  bet  alletn  ber  SDRunb, 
^itf,  bafe  e§  gel)  bon  ^ergenSgrunb. 

2.  ©etieilget  tuerb  ber  9?ame  betn, 
©ein  2Bort  bet  imy  ^itf  fatten  rein, 
!DaQ  bir  and)  leben  l^eiligtid^ 
9^a{^  beinem  9?amen  tourbiglicf). 
SBe^ut  un§,  ^err,  t)or  falf(^er  Cc^r 
©as  ami'  berfii^rte  SSol!  befe'^r. 

3.  ©§  !omm  bein  Sfleid^  gu  bie[er  3cit 
Unb  bort  bernacf)  tn  Gtoigfeit. 
®er  t)eilge  ©eift  un§  h^o'^ne  bei 
S?lit  feinen  ®aben  nmndjerlei. 

®e§  (2atan§  3orn  unb  grofe  ©etoatt 
3erbrid),  Dor  il^m  bein  ^ird^  er^ait. 

4.  ©ein  SKill  gefc^e^,  ^err  ®ott,  gugleid^ 
5luf  (Srben  toie  im  ^immelreid§. 

@ib  un§  ©ebulb  in  Seiben^^eit, 
®e!)orfam  fein  in  8ieb  unb  Ceib. 
5Bet)r  unb  fteur  altem  gleifd)  unb  SBlut, 
®a§  rt)iber  beinen  2Billen  tf)ut. 

5.  ®ib  un§  t)eut  unfer  tdgtid)  33rot, 
Unb  n)a§  man  barf  gur  CeibeSuotl^, 
35'^iit  un§,  ^err,  bor  Unfrieb  unb  <Btxtxt, 
SSor  ©euc^en  unb  bor  ti^eurer  3eit, 
®afe  n)ir  ill  gutem  grieben  [te'^n, 

2)er  ©org  unb  ©ei^enS  mufjig  ge^n. 


or — 022" 

/^UR  Father,  thou  in  heaven  above, 
^^  Who  biddest  us  to  dwell  in  love, 
As  brethren  of  one  family, 
And  cry  for  all  we  need  to  thee; 
Teach  us  to  mean  the  words  we  say, 
And  from  the  inmost  heart  to  pray. 

2.  All  hallowed  be  thy  name,  O  Lord! 
O  let  us  firmly  keep  thy  Word, 
And  lead,  according  to  thy  name, 
A  holy  life,  untouched  by  blame; 
Let  no  false  teachings  do  us  hurt, — 
All  poor  deluded  souls  convert. 

3.  Thy  kingdom  come!     Thine  let  it  be 
In  time,  and  through  eternity! 

O  let  thy  Holy  Spirit  dwell 
With  us,  to  rule  and  guide  us  well; 
From  Satan's  mighty  power  and  rage 
Preserve  thy  Church  from  age  to  age. 

4.  Thy  will  be  done  on  earth,  O  Lord, 
As  where  in  heaven  thou  art  adored! 
Patience  in  time  of  grief  bestow, 
Thee  to  obey  through  weal  and  woe; 
Our  sinful  flesh  and  blood  control 
That  thwart  thy  will  within  the  soul. 

5.  Give  us  this  day  our  daily  bread, 
Let  us  be  duly  clothed  and  fed. 
And  keep  thou  from  our  homes  afar 
Famine  and  pestilence  and  war, 
That  we  may  Hve  in  godly  peace, 
Unvexed  by  cares  and  avarice. 


I20 


Luther's  hymns 


6.  Sill  unfre  ©d^ulb  bergifi  un§,  ^crt, 
®afe  [ie  un§  nid^t  fietriilje  mel)r, 
9Bie  h)ir  aud^  unfem  (Sd^ulbigem 
:3l)r  (Sd^ulb  unb  gc^l  bcrgeben  gern. 
3u  bienen  mad^  un§  all  6ereit 

:Sn  ted^ter  Sieb  unb  (ginigfeit 

7.  gu^r  un§,  ^eir,  in  SSerfud^ung  nid^t. 
SBenn  un§  ber  bofe  @eift  anfic^t 
3ur  lin!en  unb  sur  xcd)ttn  ^anb, 
^ilf  un§  t^un  ftar!en  aSiberftanb, 
^m  ©lauben  feft  unb  hjolitgeruft't 
Unb  burd^  be§>  ^eilgen  @eifte§  Slroft. 

8.  SBon  aUem  U eb  e  I  un§  erlo§, 
e§  [inb  bie  3eit  unb  Sage  bo§, 
@rlo§  un§  bom  en^igen  Xob 
Unb  troft  un§  in  ber  le^ten  ^d% 
f8t\d}tx  un§  aud^  ein  felge§  @nb, 
S^imm  unfre  (Seel  in  beine  ^cinb. 

9.  2lmen,  ha^  ift:  e§  toerbe  toafixl 
(Star!  unfern  ©lauben  immerbar, 
5luf  bafe  toir  ia  nic^t  stoeifeln  bran, 
2)a§  tDir  ^iemit  gebeten  l)an. 

Sluf  bein  3Bort,  in  bem  Seamen  bein, 
<So  fpred^en  toir  bal  5lmen  fein. 


6.  Forgive  our  sins,  O  Lord,  that  they 
No  more  may  vex  us,  day  by  day, 
As  we  forgive  their  trespasses 
Who  unto  us  have  done  amiss; 
Thus  let  us  dwell  in  charity, 

And  serve  each  other  willingly. 

7.  Into  temptation  lead  us  not; 

And  when  the  foe  doth  war  and  plot 
Against  our  souls  on  every  hand, 
Then,  armed  with  faith,  O  may  we 
Against  him  as  a  valiant  host,  [stand 
Through  comfort  of  the  Holy  Ghost. 

8.  Deliver  us  from  evil.  Lord! 

The  days  are  dark  and  foes  abroad; 
Redeem  us  from  eternal  death; 
And  when  we  yield  our  dying  breath, 
Console  us,  grant  us  calm  release, 
And  take  our  souls  to  thee  in  peace. 

9.  Amen!  that  is.  So  let  it  be! 
Strengthen  our  faith  and  trust  in  thee, 
That  we  may  doubt  not,  but  believe 
That  what  we  ask  we  shall  receive; 
Thus  in  thy  name  and  at  thy  Word 
We  say  Amen,  now  hear  us,  Lord ! 

Tr.  Catherine  Winkworth. 


TpHE  Church  had  been  in  possession  of  rhythmic  and  plain  explanations 
of  the  Lord's  Prayer,  both  in  Latin  and  German,  but  poems  which 
the  people  could  comprehend  were  lacking.  A  man,  named  Henry,  of 
Krolewig,  prepared  expositions,  during  the  13th  century,  in  not  less  than 
4889  stanzas.  According  to  Buchwald,  and  others,  Luther  wrote  the 
"Vater  unser  im  Himmelreich"  during  1539  and  called  it  a  brief  explana- 
tion of  the  Lord's  Prayer.  It  developed,  not  only  into  a  rhythmic  ex- 
planation, but  a  real  poem  which  appended  an  ejaculation  to  every  peti- 
tion. It  is  a  worthy  complement,  to  the  third  part  of  the  Catechism, 
whose  wealth  of  thought  it  would  require  many  sermons  to  express. 

Klippgen  says  the  hymn  appeared  in  the  Luther  Codex,  of  Kadesch,  in 
1530.  He  maintains  that  the  fifth  stanza,  which  treats  of  daily  bread, 
does  not  fit  in  with  his  explanations,  of  the  Lord's  Prayer  in  1519.  At 
that  time,  Luther  understood  ''Bread  of  Christ"  to  be  'Tood  of  the  soul." 
Klippgen  claims  the  hymn  was  written,  most  likely,  during  1530. 

It  is  a  beautiful  rendering  of  the  Lord's  Prayer  and  has  been  regarded, 
by  some,  as  Luther's  finest  h3ann.     The  first  stanza  ampUfies  the  Intro- 


Luther's  hymns 


121 


duction,  the  seven  stanzas  following  treat  of  the  Petitions,  in  their  order, 
and  the  last  stanza  enlarges  upon  the  Amen. 

In  Leipzig,  the  hymn  was  published,  for  the  first  time,  in  1539. 


Translations 


"^Jom  J^immel  fjocfj  lia  feomm  icfj  fjer 

From  heaven  above  to  earth  I  come 

St.  Luke  2  :  8-12 

In  C  U  11  Title— Christmas  Hymn 


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U*ROM  heaven  above  to  earth  I  come, 
To  bear  good  news  to  every  home; 
Glad  tidings  of  great  joy  I  bring, 
Whereof  I  now  will  say  and  sing. 

2.  To  you,  this  night,  is  born  a  child 
Of  Mary,  chosen  Mother  mild; 
This  tender  Child  of  lowly  birth, 
Shall  be  the  joy  of  all  your  earth. 

3.  'Tis  Christ  our  God,  who  far  on  high 
Had  heard  your  sad  and  bitter  cry; 
Himself  will  your  salvation  be, 
Himself  from  sin  will  make  you  free. 

4.  He  brings  those  blessings  long  ago 
Prepared  by  God  for  all  below; 
That  in  his  heavenly  kingdom  blest 
You  may  with  us  forever  rest. 

5.  These  are  the  tokens  ye  shall  mark, 
The  swaddling  clothes  and  manger 

dark; 
There  shall  ye  find  the  young  Child 

laid,  [made. 

By  whom  the  heavens  and  earth  were 

6.  Now  let  us  all,  with  gladsome  cheer, 
Follow  the  shepherds,  and  draw  near 
To  see  this  wondrous  gift  of  God, 
Who  hath  his  own  dear  Son  bestowed. 


om  ^immel  l^od^  \iCi  !omm  id^  l^cr, 
:3c^  Bting  euc^  gute  ncuc  2Rd{)r, 
2)er  gutcn  STlofir  feting  \6)  fo  biel, 
2)at)on  ic^  fing'n  unb  fagen  toill. 

2.  (5ud^  ift  ein  ^nblein  {)cut  gefeom, 
SSon  einer  Qungfrau  au§er!orn ; 
@in  ^inbelcin,  fo  gart  unb  fein, 
2)a§  foil  eu'r  greub  unb  SKonne  fcin. 

3.  e§  ift  ber  ^crt  Shrift,  unfer  ©ott, 
2)er  h)tn  cuc^  fu:^r'n  au§  oiler  9^ot^ ; 
6r  ttJtll  eu'r  ^eitanb  felber  fein, 
SBon  alien  ©unben  madden  rein. 

4.  @r  feringt  eud^  alle  @eUg!ett, 
Die  ®ott  ber  SSater  f)at  feerett't : 
!5)afe  i^r  m  1 1  u  n  §  im  ^tmmelretd^ 
©ont  leben  tiun  unb  etoiglid^. 

5.  ®o  mer!et  nun  "tioS)  3ci(f)en  tec^t: 
2)ie  ^i^pen,  SStnbelein  fo  f(^Iedf)t; 
2)a  finbet  i^r  'iio.^  ^tnb  getegt, 
S)ag  one  SBett  erl)alt  unb  tragi. 


6.  2)e§  lafet  un§  alle  ftoI)Uc^  fein, 
Unb  mit  ben  ^irten  ge^n  l^inein, 
3u  fel)n,  n)a§  ©ott  un§  ^at  Sefd^eert, 
3JUt  feinem  lieben  (SoI)n  berel^rt. 


122 


LUTHER  S  HYMNS 


7.  aJ^er!  auf,  mein  §era,  unb  ftc^  bort  ^m! 
2Ba§  tiegt  bocf)  in  bem  ^U)pcletn? 
2Be§  ift  ba^  fc^one  Stinbeletn? 

e§  i[t  ba^  liebe  ^efulein. 

8.  S3i§  tciUfommen,  bu  ebler  @aftl 
2)en  (Siinber  nidf)t  berftfimd^et  ^a[t, 
Unb  fommft  in§  ©lenb  ^er  gu  mir, 
2Bie  foU  ic^  immet  banfen  bir  ? 

9.  2l(^  ^ert,  bu  (5(f)opfer  aUet  ^ing  I 
2Bie  bift  bu  toorben  \o  gering, 
!J)aB  bu  ba  liegft  auf  biirrem  ®rai5, 
S)abon  ein  diinb  unb  @fel  afe. 

lO.Unb  wer  bie  5Belt  tJtclmal  fo  wett, 
23on  Gbelftein  unb  @oIb  6ereit't, 
©0  rodr  [ie  bod^  bir  biel  gu  flein, 
3u  fein  ein  engeS  SBiegeletn. 

ll.Ser  (Sammet  unb  bte  ©etben  bein, 
2)a§  i[t  gcob  ^eu  unb  SSinbelein, 
5)rauf  bu,  S^onig,  [o  grofe  unb  teid^, 
^erprangft,  al§  mdr'S  bein  ^immelrctd^. 

12.!Da§  t)at  al^  gefaUen  bir, 
S)ic  SBa^r^eit  angu^eigen  mir, 
aBie  aller  SBelt  Wladjt,  (5^r  unb  ©ut, 
SSor  bir  nic^t§  gilt,  nid^tS  ^ilft,  nod^  t^ut. 


13.3l(^,  mein  ^ergliefte^  ^efutein ! 
Wa^  bir  ein  rein  [anft  33ettelein, 
3u  rut) en  in  mein'§  ^er^enS  (Sc^rcin, 
S)afe  i(^  nimmer  bergeffe  bein. 

14.®at)on  ic^  aUjeit  fr6:^Uc^  fei, 
3u  fpringen,  fingen  immer  frei 
2)a§  recite  (Su[aninne  [(^on, 
9D^it  ^erjenSluft  ben  fufeen  Ston ! 

15.8ob,  (Sf)r  fei  ®ott  im  Itjocfiften  X^ron, 
©er  un§  f c^enft^feinen  eingen  ©o^n  J 
S)e§  freuen  fid)  ber  (Sngel  (Sd^aar, 
Unb  [ingen  un§  fold^§  neueS  Qa^r. 


7.  Give  heed,  my  heart,  lift  up  thine 
What  is  it  in  yon  manger  Ues?  [eyes! 
Who  is  this  Child  so  young  and  fair? 
The  blessed  Christ-child  heth  there! 

8.  Welcome  to  earth,  thou  noble  guest, 
Through  whom  e'en  wicked  men  are 

blest! 
Thou  com'st  to  share  our  misery, 
What  can  we  render,  Lord,  to  thee! 

9.  Ah,  Lord,  who  hast  created  all, 
How  hast  thou  made  thee  weak  and 

small, 
To  lie  upon  the  coarse,  dry  grass. 
The  food  of  humble  ox  and  ass. 

10.  And  were  the  world  ten  times  as 

wide, 

With  gold  and  jewels  beautified, 
It  would  be  far  too  small  to  be 
A  little  cradle,  Lord,  for  thee. 

11.  Thy  silk  and  velvet  are  coarse  hay, 
Thy    swaddling    bands    the    mean 

array,  [great, 

With  which  even  thou,  a  King  so 
Art  clad  as  with  a  robe  of  state. 

12.  Thus  hath  it  pleased  thee  to  make 

plain 
The  truth  to  us,  poor  fools  and  vain, 
That  this  world's  honor,  wealth  and 

might  [sight. 

Are  naught   and  worthless  in  thy 

13.  Ah,  dearest  Jesus,  Holy  Child, 
Make  thee  a  bed,  soft,  undefiled. 
Here   in    my   poor   heart's   inmost 

shrine, 
That  I  may  evermore  be  thine. 

14.  My  heart  for  very  joy  doth  leap. 
My  lips  no  more  can  silence  keep, 

I  too  must  sing,  with  joyful  tongue, 
That  sweetest  ancient  cradle  song: — 

15.  Glory  to  God  in  highest  heaven, 
Who  unto  man  his  Son  hath  given, 
While  angels  sing,  with  pious  mirth, 
A  glad  New  Year  to  all  the  earth. 

T  .  Catherine  Winkworth. 


LUTHER'S  HYMNS  1 23 

npHIS  soul-stirring  Christmas  Hymn  calls  to  mind  a  picturesque  rep- 
resentation, in  the  churches,  during  the  Holy  Night,  which  came 
down  from  past  days  as  a  time-honored  and  highly  prized  custom,  and 
which  Luther  would  not  disturb.  A  manger  was  set  up  and  the  cradle 
song  sung;  and,  to  the  fifteenth  stanza,  the  children  leaped  about  in  a 
gleeful  dance. 

T  UTHER'S  oldest  son,  Hans  (John),  was  now  in  his  tenth  year,  and 
j  little  Paul  was  in  his  cradle.  There  is  a  tradition  that  on  Christmas 
Eve,  1534,  his  devoted  wife,  Catharine,  wearied  by  toil,  quietly  opened 
the  door  of  his  library  and  said,  ''Doctor,  I  can  not  force  my  labors  to  com- 
pletion, and  there  is  still  a  great  deal  for  me  to  do;  be  so  kind  as  to  be 
seated  beside  the  cradle  of  baby  Paul  and  mind  him  that  I  may  be  free  to 
go  about  my  work."  Although  Luther  was  deeply  absorbed  in  study,  and 
the  preparation  of  his  Christmas  services,  he  took  his  Bible  and  patiently 
sat  down  beside  the  cradle  of  their  child,  as  "Katie"  had  requested  him  to 
do.  W^le  he  gazed  upon  the  small,  frail  and  lowly  figure,  sleeping  before 
him,  his  heart  began  to  sweW  with  profound  impulses.  He  took  down  his 
lute,  tuned  it,  and  began  to  sing.  Verse  grew  upon  verse,  until  the  hymn 
was  completed. 

Its  opening  lines  were  modeled  after  a  popular  air  entitled:  ''Aus 
fremden  Landen  komm  ich  her";  and  he  successfully  catches  the  ring  of 
the  familiar  lines : 

Ich  komm  aus  fremden  Landen  her,  Hither  I  come  from  far  away, 

Und  bring  euch  viel  der  neuen  Maehr,  And  news  so  strange  to  you  I  say, 

Der  neuen  Maehr  bring  ich  so  viel,  So  much  strange  news  and  more  I  bare, 

Mehr  denn  ich  euch  hier  sagen  will.  Than  here  to  tell  you  I  can  care. 

In   a  mihtary  hymn  book,  found   in  Berlin,  the   following  stanza 


Gieb  dass  ich  allzeit  froelich  sei,  Grant  that  I  ever  joyful  be, 

Froelich,  und  singe  immer  frei  Joyful,  and  sing  constant  free 

Zu  Ehren  dir,  o  Gottes  Sohn,  To  honor  Thee,  of  God  the  Son 

Mit  Herzenslust  im  suessen  Ton.  With  heart's  desire  in  a  sweet  tone. 

All  of  the  hymn  except  the  first  stanza  is  Luther's  original  composi- 
tion. The  melody  of  the  Magdeburg  H>Tnn  Book,  1540,  is  still  familiar 
to  Christian  people,  and  very  popular.  According  to  an  annual  custom,  in 
fais  family  festival,  Luther  had  a  student,  dressed  as  an  angel,  sing  the 
first  seven  stanzas.     This  ''angel"  was  greeted  by  the  children  who  re- 


124 

sponded  to  him  by  singing  the  eighth  and  following  stanzas.  In  King's 
book,  1543,  it  is  entitled:  "A  Children's  Hymn,  on  the  Child  Jesus,  for 
Christmas  Eve,  based  upon  the  second  chapter  of  the  Gospel  by  St. 
Luke." 

In  stanza  1  the  Angel  of  the  Lord  declares  his  origin,  and  intones  his 
message;  2  announces  the  birth  of  the  Virgin's  Son;  3  He  is  Christ,  the 
Saviour;  4  Who  brings  salvation;  5  points  out  the  sign  whereby  He  shall 
be  known;  6,  7  invite  men  to  join  the  shepherds  and  come  hither  to  behold 
the  Child  Jesus;  8  offers  a  grateful  welcome  to  the  Christ;  9-12  present 
profound  contemplations  of  the  lowly  Jesus;  13  offers  Christ  the  sanctuary 
of  the  devout  heart;  and  14-15  adore  and  praise  the  Son,  and  the  Father 
who  gave  Him  through  whom  a  new  era  is  ushered  in.  Is.  61  : 2,  St. 
Luke,  4  :  19.    Susannine,  stanza  14,  means  lullaby. 

The  hymn  appeared  first  in  the  "Geistliche  Lieder,"  Wittenberg,  1535. 

'TPHE  little  town  of  Schweina,  Franconia,  is  especially  devoted  to  this 
hymn.  In  past  days,  the  town  church  was  located  on  St.  Anthony,  a 
hill  still  retained  in  the  custom  of  the  youth  of  the  town.  During  Ad- 
vent, they  build  up  a  pile  of  stone  on  St.  Anthony  and,  on  Christmas  Eve, 
plant  upon  it  a  strong  staff  bearing  aloft  attached  bundles  of  fagots. 
Boys,  and  young  men,  provide  themselves  with  poles  crowned  with  shav- 
ings and  chips  intended  to  be  used  as  fire-brands.  In  the  introduction  of 
the  Christmas  celebration,  the  youths,  bearing  their  brands,  march  up  the 
hill,  and  soon  the  darkened  sky  is  radiant  with  the  blazing  brands  and 
fagots.  Thus  is  painted  in  the  sky,  the  annunciation,  to  the  villagers  below, 
that  "The  Light  shineth  in  the  darkness."  During  the  recessional  from 
the  hill,  the  hymn  of  Luther  "Vom  Himmel  hoch  da  Komm  ich  her"  is 
sung;  and  the  company  halts  in  the  public  square  where  other  Christmas 
hymns  are  sung  until  trumpet  tones,  from  the  church  tower,  at  midnight, 
call  the  worshippers  into  the  church  to  the  Christmas  services.  This  is  a 
fitting  climax  to  the  night's  celebration. 

A  REMARKABLY  mature  child,  for  his  age,  the  five-year  old  Eugene 
Balz,  of  Neuwied  on  the  Rhine,  learned  stanzas  of  the  hymn,  by  hear- 
ing his  older  brothers  and  sisters  recite  them.     The  child  fell  ill  during 
Advent,  1871,  and  said  to  his  mother,  one  day,  ''I  like  best  the  words: 

'Tis  Christ  our  God,  who  far  on  high 
Had  heard  your  sad  and  bitter  cry; 
Himself  will  your  salvation  be, 
Himself  from  sin  will  make  you  free, 


'J 


LUTHER S   HYMNS  12$ 

they  are  so  easy  to  learn.'*  During  Christmas  Day  he  sang  and  recited 
with  the  rest  of  the  family.  By  New  Year  Day  small-pox  had  fully  de- 
veloped upon  him.  He  begged  his  mother  to  sing  many  hymns.  When 
she  had  finished  his  favorite,  "Vom  Himmel  hoch,"  he  said,  "Mother, 
sing  again:  ^  'Tis  Christ  our  God,'"  and  then  he  fell  asleep. 

'T*HE  eighth  stanza  has  been  prized  as  a  fine  pearl,  by  many  pious 
souls: 

Welcome  to  earth,  thou  noble  guest, 
Through  whom  e'en  wicked  men  are  blest! 
Thou  com'st  to  share  our  misery, 
What  can  we  render,  Lord,  to  thee! 

Samuel  Auerbach,  pastor  in  Schenkenberg,  received  his  final  communion 
shortly  before  his  death,  in  1628.  During  the  administration,  he  raised 
his  hands  and  exclaimed,  ''Welcome  to  earth,  thou  noble  guest." 

IN  his  "Treasury  of  Souls"  the  consecrated  pastor,  Christian  Scriver, 
says  that  Jesus  came  from  heaven  to  earth,  and  humbled  himself  into 
our  misery,  even  as  we  sing:  "Welcome  to  earth."  Divers  sink  fathoms 
deep  into  the  sea,[in  search  after  pearls,  and  miners  dig  many  furlongs  into 
the  mountains  for  gold  and  silver,  but  behold  heaven's  great  estimate  of 
an  immortal  soul,  when  for  her  sake,  our  Lord  Jesus  did  not  hesitate  to 
sink  himself  into  the  bitter  depths  of  human  misery  and  sorrow. 

TpHE  thirteenth  stanza: 

Ah,  dearest  Jesus,  Holy  Child, 
Make  thee  a  bed,  soft,  undefiled, 
Here  is  my  poor  heart's  inmost  shrine, 
That  I  may  evermore  be  thine, 

is  a  child's  prayer,  in  purest  form,  and  therefore  a  prayer  which  the 
children  of  God  may  use  with  joy,  to  their  dying  days.  Valerius  Herber- 
ger  says,  in  his  "Bands  of  Sadness,"  that  a  native  of  Fraustadt  longed  for 
consolation  by  his  pastor.  When  the  latter  arrived,  toward  evening,  the 
former  raised  himself,  after  a  long  pause  in  silence,  and  said,  "Oh,  this  is 
my  dear  and  welcome  guest!"  He  grasped  him  by  the  hand  and  repeated 
the  lines:  "Ah,  dearest  Jesus."  Then  he  added:  "Ah,  thou  Lord  Jesus, 
who  art  my  greatest  consolation,  and  my  most  precious  possession  on 
earth,  leave  me  never!"    These  words  calmed  him  into  peaceful  rest. 


126 


LUTHER'S  HYMNS 


g>ie  js;t  mix  lieb,  bie  toerrtje  iWagb 

Dear  is  to  me  the  holy  Maid 

Rev.  12  :  1-6 

Translations — ^5  Title — Hymn  of  the  Christian  Church 


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1 

le  tft  mir  lieb,  bte  toertfie  Spflagb. 
Unb  fann  if)r  nirfit  bergeffen. 
Cob,  @{)r  unb  gudit  bon  i^r  man  fogt 
©ie  ]^at  mein  ^erg  befeffen. 
;S(f)  bin  i^r  f)olb, 
Unb  tnenn  id^  foUt 
@rofe  Ungliicf  f)an, 
S)a  liegt  ni(^t§  an : 
©ie  n?iU  mid^  befe  ergojgen, 
SJiit  i^rer  8ieb  unb  Xreu  an  mil, 
S)ie  fie  gu  ntir  toitl  [el^en, 
Unb  tt)un  alt  mein  Scgier. 


2.  ®ic  traot  ton  ®olb  fo  letn  ein  Shon, 
5)arin  leuc^tcn  gtrolf  (Stemc, 
:Sf)r  ^leib  ift  mie  bie  ©onne  i(i^5n, 
i)o§  glanget  ^el(  unb  feme, 
Unb  auf  bem  ilRonb 
^firgiifeefte^n, 
©ie  ift  bie  SBraut, 
2)em  ^errn  bertraut. 


— ^ 1 — I 

EAR  is  to  me  the  holy  Maid, — 

I  never  can  forget  her; 
For  glorious  things  of  her  are  said; 
Than  life  I  love  her  better: 
So  dear  and  good, 
That  if  I  should 
Afflicted  be, 
It  moves  not  me; 
For  she  my  soul  will  ravish 

With  constancy  and    love's    pure 
And  with  her  bounty  lavish         [fire. 
Fulfil  my  heart's  desire. 


2.  She  wears  a  crown  of  purest  gold, 
Twelve  shining  stars  attend  her; 
Her  raiment,  glorious  to  behold, 
Surpasses  far  in  splendor 
The  sun  at  noon; 
Upon  the  moon 
She  stands,  the  Bride 
Of  him  who  died: 


S 


D 


LUTHER  S  HYMNS 


127 


Q\)x  ift  IDC^  unb  mufe  gcficiren 
©in  fd)one§  S^inb,  ben  eblen  ©o^n, 
Unb  aller  SSclt  etn  ^crren, 
S)em  fie  ift  untertfjan. 

3.  ©a^  tl^ut  bent  alten  S)rad)en  3om, 
Unb  toill  bag  ^inb  t)erfd)lingen. 
©ein  ^oben  ift  bod)  gang  bexlDrn, 
©§  fann  t^m  nid^t  oelingen. 
®a§  tinb  ift  bod) 
@en  ^immel  J)oc[) 
©enommen  l^in, 
Unb  Iciffet  il}n 

2luf  ©rben  faft  \tl)x  toiit^en. 
S)ie  Tlutttx  mufe  gar  fein  allein, 
S)od)  toill  fie  ©ott  ibepten, 
Unb  bet  rec^t  S3ater  fein. 


Sore  travail  is  upon  her; 

She  bringeth  forth  a  noble  Son 
Whom  all  the  world  doth  honor; 

She  bows  before  his  throne. 

3.  Thereat  the  Dragon  raged,  and  stood 
With  open  mouth  before  her; 
But  vain  was  his  attempt,  for  God 
His  buckler  broad  threw  o'er  her. 
Up  to  his  throne 
He  caught  his  Son, 
But  left  the  foe 
To  rage  below. 
The  mother,  sore  afflicted, 

Alone  into  the  desert  fled, 
There  by  her  God  protected, 
By  her  true  Father  fed. 


"RY  connecting  this  hymn  with  the  Apocal3T>se,  Luther  presents  a  pic- 
ture of  the  Christian  Church.  In  his  description  he  had  in  mind, 
Mary,  '*the  queen  of  heaven."  He  proceeds  in  a  similar  manner,  in  his 
commentaries  on  the  Psalms,  and  in  his  Church  Postil.  Among  the  saints, 
whom  he  reverences,  Mary  occupies  the  highest  place.  He  even  preached 
her  as  a  theme,  e.  g.,  Sermon  121.  Kawerau  points  out  a  strong  resem- 
blance between  this  hymn  and  the  explanation  of  the  45th  Psalm,  which 
appeared  in  1532,  the  probable  date  of  this  hymn. 

In  spite  of  the  evident  vigor  of  style  and  contents  it  nevertheless,  in  the 
construction  of  its  verses,  appears  a  trifle  artificial.  It  contains  less  of 
the  popular  air  than  the  strains  of  a  Minnesinger  and  the  German  min- 
strels. Luther's  '^Maid,"  called  "Woman"  in  the  book  of  Revelation,  is 
the  true  congregation  of  God  as  she  existed  already  in  the  Old  Testament, 
and  is  now  made  real,  in  the  Christian  Church,  as  the  Congregation  of 
Behevers  in  Christ. 

Stanza  1  breathes  fervent  love  for  the  Church  that  administers  so 
much  to  her  own,  Rev.  12  :  1,  2;  2  describes  the  glory  of  the  Church, 
V.  2,  3;  and  3  points  to  her  victory,  through  the  exalted  Christ,  after  her 
hardships  on  earth  are  ended. 

The  hymn  appeared,  without  music,  in  Klug's  book,  of  1535  and  1543.  , 


128 


Luther's  hymns 


Translations 


KSas:  futvti)Vsit  bu»  Jfeinli  Mtvohtsi  s(ei)t 
Why,  Herod,  unrelenting  foe 

Herodes  hostis  impie 
St.  Matt.  2  : 3;  3  : 9,  16;  St.  John  2  : 6-10 

rc.  U.  1 
In.  c.  u.  4 


Title— An  Epiphany  Hymn 


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j^    S   J   eJ 


-3SB- 


o§  furdtit'ft  bu,  getnb  ^erobe§,  fel)r, 
3)afe  im§  geborn  !ommt  ®^rift  ber 

(5r  fud^t  !ein  fterbttd^  ^onigreid^, 
S)er  gu  un§  fitingt  fein  ^tmmelreid^. 


2.  ®em  (Stem  bie  SBeifen  folgen  nad^, 
(Sold^  Cic^t  5um  red^ten  Cid^t  fie  firad^t ; 
(Sic  geigen  mit  hm  &abtn 

bret 
2)ie§  ^inb  ®ott,  2Jlen[d^  unb  ^onig  fei. 

3.  S)ie  5tauf  im  ;3orban  on  fid^  nat)m 
S)a§  ^tmmelifd^e  ©ofteSIamm; 
^aburd^,  ber  nie  lein  (BiXnht  t^at, 
SSon  (Siinben  un§  getoafd^cn  l^at. 

4.  (Sin  SKunbertoerl  ha  ncu  0e[d^a^: 
©ed^§  fteinem'  ^rttge  man  ha  \a^ 
SSoE  2Ba[fer§,  ba§  berlor  fein' 

5lrt, 
fRotljtx  SBein  burd^  fein  SBort  brau§  toarb. 

5.  8ob,  ©t)r  unb  2)anf  fei  bir  gcfagt, 
e^rift,  gebom  bon  ber  reinen  'tSJlaQh, 
$0lit  SSater,  unb  bem  l)eil0en  ©eift 
SSon  nun  an  hi^  in  (StDigJeit! 


W 


HY,  Herod,  unrelenting  foe, 
Doth  the  Lord's   coming    move 
thee  so? 
He  doth  no  earthly  kingdom  seek 
Who  brings  his  kingdom  to  the  meek. 

2.  Led  by  the  star,  the  wise  men  find 
The  Light  that  lightens  all  mankind; 
The  threefold  presents  which  they 

bring  [King. 

Declare   him   God,   and   Man,   and 

3.  In  Jordan's  sacred  waters  stood 
The  meek  and  heavenly  Lamb  of  God, 
And  he  who  did  no  sin,  thereby 
Cleansed  us  from  all  iniquity  1 

4.  And  now  a  miracle  was  done: 

Six  waterpots  stood  there  of  stone; 
Christ  spake  the  word  with  power 

divine, 
The  water  reddened  into  wine. 

5.  All  honor  unto  Christ  be  paid, 
Pure  offspring  of  the  holy  maid, 
With  Father  and  with  Holy  Ghost, 
Till  time  in  endless  time  be  lost. 


\\/' ALTER  informs  us  that  this  hymn  originated  on  Dec.  12, 1541.    We 

may  accept  his  opinion  with  confidence,  although  Luther,  in  1520 

ab-eady,  treasured  the  Latin  antecedent,  "A  solis  ortus  cardine,"  on  which 


129 

it  is  based.  i\t  that  time  he  finished  his  composition,  the  last  stanza  of 
which  may  be  taken  as  a  prelude  to  his  Babylonian  Captivity.  Ave- 
narius  pronounced  it  a  masterpiece  and  expressed  a  doubt  whether  the 
most  skillful  poet  of  his  time  could  have  equalled  it. 

The  hymn  begins  with  the  eighth  stanza  of  the  poem  by  Sedulius 
which  follows  the  order  of  the  alphabet: 

Hostis  Herodes  impie, 
Christum  venire  quid  times? 
Non  eripit  mortalia, 
qui  regna  dat  caelestia. 

Buchwald,  Kawerau,  and  others,  state  that  in  earlier  days  it  w^as  sung  re- 
peatedly, but  now  it  is  scarcely  known.  They  say  it  is  probably  the  one 
hymn  that  does  little  credit  to  its  author.  It  seems  to  lack  internal 
unity. 

Stanza  1  presents  the  appearance  of  the  hidden  Christ,  and  the  snare 
of  Herod;  2  the  adoration  of  Wise  Men,  the  representatives  of  the  heathen 
world;  3  the  epiphany  of  his  Messianic  dignity  at  his  baptism;  4  his  first 
miracle,  at  Cana;  and  5  a  doxology. 

Klug  pubHshed  it  in  1543,  Spangenberg,  Bucer  and  Babst  in  1545. 
9 


I30 


Luther's  hymns 


\Tom  ©imntel  feam  bet  Cngel  ^cljaar 

To  Shepherds,  as  they  watched  by  night 

St.  Luke  2  :  10,  11:  St.  Matt.  2  :  6 


Translations 


jC.  U.  2 

(N.  C.  U.  7 


Title — Christmas  Hymn 


i 


S?4^ 


r*,  X  f 


:^=^ 


1^=:;^ 


P 


^ 


I      I      I 


i 


»=F 


^?=^ 


-z:* ?5^- 


■g     ^ 


om  ^immel  !am  ber  ^gel  ©t^aar 
©rfd^ien  ben  ^trten  cffenbar. 
<Sie  f agten  i^n'n :  ein  ^tnblein  gart, 
S)a§  liegt  bort  in  ber  ^ippen  ^art. 


2.  3u  33etl)te'^em,  in  ®at)ib§  ©tabt, 
28ie  2)flid^a  ba§  berfunbet  ^at  ; 
e§  ift  ber  ^erre  ;3efu§  (Shrift, 
®er  eiter  aUer  ^eilanb  ift 


3,  !5)e§  font  i^r  fiiHig  fro^ttd^  fein, 
®afe  @ott  mit  euc^  ift  hjorben  ein ; 
®r  ift  gebor'n  eur  gleif(^  unb  33lut, 
@ur  Sruber  ift  ba§  etoig  ®ut. 


2Ba§  !ann  eud^  t^un  bie  ©linb  unb  %ob  ? 
^l)x  l)aht  mit  eud^  ben  tt)a{)ren  ®ott ; 
Cafet  giimen  ^eufel  unb  bie  ^oll, 
@ott§  ©ol^n  ift  lt)orben  eur  ©efeU. 


5.  ®T  n)ill  unb  fann  eud^  (affen  nid^t, 
©e^t  i{)r  auf  il)n  eur  3ut)erfid)t. 
(S§  mogen  eud)  biel  fedfiten  an : 
2)em  fei  Xrol^,  ber'^  nid^t  laffen  !ann. 

6.  3ui^fet  miX^t  itjx  bod^  l^aben  rec^t ; 
^1)1  feib  nun  morben  @ott§  ©efd^Ied^t. 
2)e§  banfet@ott  in  en)ig!eit  — 

©ebutbig,  frot)lid)  alleaeit ! 


'T^O    shepherds,  as  they  watched  by 
•*•      night, 
Appeared  a  troop  of  angels  bright; 
Behold  the  tender  babe,  they  said, 
In  yonder  lowly  manger  laid. 

2.  At  Bethlehem,  in  David's  town, 

As  Micah  did  of  old  make  known; — 
'Tis   Jesus    Christ,    your   Lord   and 

King, 
Who  doth  to  all  salvation  bring. 

3.  Rejoice  ye,  then,  that  through  his  Son 
God  is  with  sinners  now  at  one; 
Made  like  yourselves  of  flesh  and 

blood. 
Your  brother  is  th'  eternal  Good. 

4.  What  harm  can  sin  and  death  then 

do? 
The  true  God  now  abides  with  you: 
Let  hell  and  Satan  chide  and  chafe, 
God  is  your  fellow — ye  are  safe. 

5.  Not  one  he  wiU  nor  can  forsake 
Who  him  his  confidence  doth  make: 
Let  all  his  wiles  the  tempter  try, 
You  may  his  utmost  powers  defy. 

6.  You  must  prevail  at  last,  for  ye 
Are  now  become  God's  family: 
To  God  forever  give  ye  praise, 
Patient  and  cheerful  all  your  days. 


Luther's  hymns  131 

TN  spite  of  the  close  relation  of  this  hymn  to  the  middle  period  of  Luther's 

poesy,  it  manifests  a  real  personal  sentiment.  The  manly  spirit  of 
^'Ein  feste  Burg"  lives  in  it.  The  title:  ''Another  Christmas  Hymn 
adapted  to  the  former  tune,  'Vom  Himmel  hoch,'  "  is  explained  by  the 
fact  that  it  was  published  after  the  other  hymn  to  which  the  melody  had 
been  applied.  If  the  order  of  the  two  hymns  can  not  be  definitely  estab- 
Ushed,  ''It  is  certain,"  says  Achelis,  "each  presents  the  Christ  from  a 
totally  different  perception.  The  hymn,  'Vom  Himmel  hoch'  sets  forth 
the  great  humiHty  of  the  Christ,  whilst  this  hymn  treats  of  the  significance 
of  the  Incarnation  for  the  redemption  of  the  world.  Be  not  afraid,  but 
rejoice  over  this  Child,  is  its  tone.  It  appears  altogether  unchildlike 
when  compared  mth  'Vom  Himmel  hoch.'  " 

This  h>Tnn  was  sung,  quite  frequently,  on  private  occasions,  whilst  the 
other  was  regai;ded  as  the  proper  hymn  for  public  worship;  but,  in  time, 
the  shorter  hymn  was  repeatedly  substituted  for  the  longer  form. 

Stanza  1  narrates  the  angel- tidings  to  the  shepherds;  2  the  declara- 
tions of  the  prophets;  3  the  reconciliation  of  the  sinner  to  his  God;  and  4-6 
glory  in  the  defeat  of  Satan,  and  the  victory  of  the  family  of  God. 

The  hymn  appeared  in  "Geistliche  Lieder,"  Wittenberg,  by  Klug, 
1543.    In  his  Nuernberg  book  of  1759,  Riederer  dates  the  h3ann  in  1537. 


132 


LUTHER  S  HYMNS 


Translations 


Cftrijft,  unsfer  ^etr,  }um  Sforban  feam 

To  Jordan  came  our  Lord  the  Christ 
St.  Matt.  3  :  13-17;  St.  Mark  16 

J  ivj  r  TT  6  Title — A  Baptism  Hymn 


i 


x=t 


s 


s 


-<©• 


j — g^ 


:^ 


^^ 


s: 


{g    g^ 


s 


-27- 


t«i fi» 2^ 


3 


:^ 


:^ 


._j QL 


-^ 


gJ         !- 


g 


i 


^- 


^: 


t^ 


-f2- 


-f22- 


:^ 


1 


-p  p  ?  p± 


5 


-25^- 


:^: 


-z:<— 


■^-tS^- 


^ 


rejaz 


or 


l^rift,  unfer  ^err,  gum  :^orban  !am, 
g^ac^  feineS  SSaterS  SBiUen, 
SSon  fanft  :3o^ann'§  tie  Xaufe  nal^m, 
<Sein  2Ber!  imb  5lmt  au  'rfitllen. 
©a  icoEt  er  fttften  un§  ein  33ab, 
3u  it)a[rf)cn  un§  bon  ©iinben, 
(Srfaufen  aud^  ben  bittern  Stob 
®urd^  f ein  [et6[t  Slut  unb  28unbcn. 
(g§  gatt  ein  neue§  Se6en. 


2.  @o  l)ort  unb  mer!et  alle  too^l, 
2Ba§  ®ott  J^eift  felbft  bte  Staufc, 
Unb  toa§  ein  ©^tifte  gtauben  [oil, 
3u  meiben  ^et^er  ^aufe: 

®ott  [prid)t  unb  toill,  \i^^^  SBaffetfci 
S)o(^  nic^t  attein  f{f)te(f)t  SBaffer; 
(Sein  l)eitig§  SKort  ij"!  auc^  baftei 
SOflit  reid)em  @et[t  Q^xi  mafeen. 
S^er  ift  all^te  ber  Staufer. 

3.  (Sol(^§  l^at  er  un§  ben^eifet  flat 
gjht  33ilben  unb  mit  SBorten : 
®e§  33ater§  ©timm  man  offenOar 
©aietbft  am  :^orban  prte. 

©r  fprac^ :  ba§  i[t  mein  lieOer  ©ol^n, 
Stn  bem  ic^  l)ab  ©efallen 
!Den  mitt  id)  eud^  befo^len  ^an  I 
S)afe  i^r  il)n  l^oret  atte, 
Unb  folget  [einem  Se^ren. 


'THD  Jordan  came  our  Lord  the  Christ, 
To  do  God's  pleasure  willingly, 

And  there  was  by  Saint  John  bap- 
All  righteousness  fulfilling;    [tized, 

There  did  he  consecrate  a  bath 
To  wash  away  transgression, 

And  quench  the  bitterness  of  death 
By  his  own  blood  and  passion; 

He  would  a  new  life  give  us. 

2.  So  hear  ye  all,  and  well  perceive 

What  God  doth  call  baptism, 
And  what  a  Christian  should  believe 

Who  error  shuns  and  schism: 
That  we  should  water  use,  the  Lord 

Declareth  it  his  pleasure; 
Not  simple  water,  but  the  Word 

And  Spirit  without  measure; 
He  is  the  true  Baptizer. 

3.  To  show  us  this,  he  hath  his  word 

With  signs  and  symbols  given; 
On  Jordan's  banks  was  plainly  heard 

The  Father's  voice  from  heaven: 
"This  is  my  well-beloved  Son, 

In  whom  my  soul  delighteth; 
Hear  him."    Yea,  hear  him  every  one 

Whom  he  himself  inviteth, 
Hear  and  obey  his  teaching. 


LUTHER'S  HYMNS 


133 


4.  2lud^  ©ottcl  (Bolju  l)kx  fclCcr  [tcf)t 
^n  feiner  ^arten  ?Jlciif(^^etr: 

S)er  I)eilge  @eift  f)erniebcr  tal}rt, 
;3n  2:aul3enBiIb  Derftcibet 
S^OB  torr  nid)t  foUen  stoeifcln  bran, 
SKenn  tnir  getaufet  toerben, 
2111'  brei  ^crfon'  getaufet  f)an; 
S)amit  bet  uns  auf  (Jrben 
3«  h)of)nen  fi(^  ergeben. 

5.  (5em'n  Igiingem  f)etBt  ber  .&cne  Gl^rift : 
@ef)t  ^in,  aH  23elt  511  le^ren, 

SaB  fie  berlorn  in  (Si'mben  tft, 
(Bid)  foU  5ur  33u[:ie  !el)i-en, 
2Ber  glaubet  unb  fid)  taufen  IciBt, 
<Son  baburcf)  felig  roerben; 
(5tn  neugeborner  lOfenf^  er  bei^t, 
S)er  nic^t  mc^r  fbnne  fterben, 
2)05  ^immelreic^  foil  erben. 

6.  (5i3er  nid)t  glaubt  biefer  gro^en  ©nab, 
Ser  bleibt  in  feinen  (2unbcn, 

Unb  ift  betbammt  gum  em'gem  Xob 

Xief  in  ber  pollen  ©runbe. 

9^i^t§  t)i[ft  fein  eigne  ^eiligteit, 

Stfl  fein  Xhun  ift  berloren; 

S^ie  ©tbfunb  mad}t§  gur  9^id)tig!ett, 

S)artn  er  ift  geboren ; 

5Sennag  iljm  felbft  nid^t  !)elfen. 

7.  2a§  2tug  atlein  ba§>  SS^offer  fie^t, 
2Sie  2)knfd}en  Staffer  giefen. 

S)er  ©laub  im  ©eift  bte  ^aft  t)erfte'^t 

^e§  35tutc5  ^efu  Gfirifti. 

Unb  ift  cor  ibm  ein  rotf)e  ^lutl), 

SSon  ©f)rifti  23lut  gefdrbet, 

S)ie  alien  Sd)aben  beilen  tl)ut, 

S?on  5tbam  ber  gcerbet ! 

5tud^  i)on  uns  fetbfr  begangen. 

©pfiterer  3"fQt- 

8.  !Srum  banfen  toir  bir  inniglid^ 
lyixx  beine  Xreu  unb  ©iite, 
§err  ^efu  Gbrift,  unb  bitten  bid^, 
@ib  ftet5  ein  neu  ©emiurie, 

S)afe,  trie  bu  un»  tiaft  burc^  bie  2^auf 
^n^  ©nabenreic^  genomtnen, 
2Bir  auc^  fo  fu^jren  unfern  Cauf, 
^antit  toir  enbltd)  fommen 
3u  bir  tn5  Dieic^  ber  ©fir en. 


4.  In  tender  manhood  Jesus  straight 

To  holy  Jordan  wendeth; 
The  Holy  Ghost  from  heaven's  gate 

In  dovehke  shape  descendeth; 
That  thus  the  truth  be  not  denied, 

Nor  should  our  faith  e'er  waver, 
That  the  Three  Persons  all  preside 

At  Baptism's  holy  laver, 
And  dwell  with  the  behever. 

5.  Thus  Jesus  his  disciples  sent: 

Go,  teach  ye  every  nation, 
That  lost  in  sin  they  must  repent, 

And  flee  from  condemnation: 
He  that  beheves  and  is  baptized, 

Obtains  a  mighty  blessing; 
A  new-born  man,  no  more  he  dies, 

Eternal  Hfe  possessing, 
A  jo>iul  heir  of  heaven. 

6.  Who  in  his  mercy  hath  not  faith, 

Nor  aught  therein  discerneth, 
Is  yet  in  sin,  condemned  to  death, 

And  fire  that  ever  burneth; 
His  holiness  avails  him  not. 

Nor  aught  which  he  is  doing; 
His  inborn  sin  brings  all  to  naught. 

And  maketh  sure  his  ruin; 
Himself  he  can  not  succor. 

7.  The  eye  of  sense  alone  is  dim, 

And  nothing  sees  but  water; 
Faith  sees  Christ  Jesus,  and  in  him 

The  lamb  ordained  for  slaughter; 
She  sees  the  cleansing  fountain  red 

With  the  dear  blood  of  Jesus, 
Which  from  the  sins  inherited 

From  fallen  Adam  frees  us. 
And  from  our  own  misdoings. 


8.  We  therefore  thank  Thee  fervently, 

Upon  thy  constant  goodness, 
Lord  Jesus  Christ;  and  we  pray  Thee, 

A  new  heart  ever  give  us; 
That  like  as  thou  us  through  the  font 

Hast  brought  to  love's  dominion. 
So  may  we  all  direct  our  jaunt 

That,  when  at  length  to  Thee  we 
We  see  Thy  home  of  glory.        [run, 


134  Luther's  hymns 

npHE  melody  "Es  woll  uns  Gott  genaedig  sein/'  adapted  to  this  hymn, 
by  John  Walter,  was  modeled  after  a  popular  air  of  the  15th  century: 

Aus  hartem  Wey  klagt  sich  ein  Held, 
In  strenger  Hut  verborgen. 

Klug,  in  1543,  and  Babst,  in  1545,  also  used  this  melody. 

The  original  title  placed  over  the  hymn  is:  "A  hymn  on  our  Holy 
Baptism,  wherein  is  briefly  comprehended  its  essence,  its  institution  and 
its  use."  It  is  a  Catechism  Hymn  which  sets  forth  the  Lutheran  doctrine 
of  Baptism.  The  elements  of  the  Catechism  are  associated  with  the  his- 
tory of  the  baptism  of  Christ.  Spitta  points  to  a  Latin  hymn  as  its  model 
with  which  Luther  must  have  been  famihar,  as  is  shown  by  his  sermon  on 
Baptism,  in  1535.  Achelis  thinks  he  wrote  it  in  1541,  but  offers  no  con- 
vincing proof  for  his  opinion. 

To  the  poetic  treatment  and  construction  of  the  first  three  parts  of 
the  Catechism: 

"Dies  sind  die  heiligen  zehn  Gebot," 

"Mensch,  willt  du  leben  seliglich," 

"Wir  glauben  all  an  einen  Gott," 

"Vater  unser  im  Himmelreich," 

Luther  adds  the  fourth  part  in  this  edifying  Baptism  Hymn.  The  con- 
trast of  the  hymns,  which  treat  of  the  first  four  parts  of  the  Catechism, 
with  the  two,  which  take  their  material  from  the  fifth  part,  viz. : 

"Jesus  Christus  unser  Heiland,  der  von  uns," 
"Gott  sei  gelobet  und  gebenedeiet," 

merits  consideration.  In  the  latter  hymns,  he  omits  the  didactic  element 
and  simply  sings,  in  an  edifying  manner,  the  thoughts  which  stir  the  soul, 
during  the  reception  of  the  Holy  Communion.  This  is  the  more  remark- 
able, indeed,  since  the  material  for  his  first  Communion  Hymn  was 
furnished  by  the  extremely  valuable  h3niin  of  John  Huss.  For  this  reason 
Luther's  Communion  Hymns  are  not  included  among  the  poetical  treat- 
ments of  the  Catechism,  in  the  same  way  as  those  which  he  prepared  for 
the  first  four  parts. 

The  value  of  this  hymn  can  not  be  fully  estimated  until  it  is  sung, 
which  is  the  case  with  so  many  excellent  hymns  of  the  16th  century.  A 
casual  reading  is  not  sufficient  to  reveal  it  as  a  pearl  of  great  price.  He 
who  listens  to  a  congregation  of  children  (Ps.  8:2),  singing  these  precious 
lines,  must  be  stirred  in  spirit,  and  learn  how  it  supports  him  in  overcom- 


LUTHER  S   HYMNS 


135 


ing  temptations  and  aids  him  in  growth  in  grace,  in  a  truly  sacramental 
manner. 

Stanza  1  presents  the  ground  and  institution  of  Holy  Baptism,  through 
Christ  himself;  2  the  significance  of  the  Sacrament:  not  simply  water,  but 
the  Word  of  God,  which  accompanies  and  is  connected  with  the  water,  and 
our  faith;  3-4  the  great  sacredness  of  the  Holy  Sacrament,  for  God  himself 
makes  his  abode  in  the  believing  heart;  5  the  three  persons  of  the  blessed 
Trinity  are  actively  present,  and  bestow  their  gifts  upon  the  baptized; 
6-7  show  that  all  rests  upon  Christ's  command;  8  buries  the  baptized  with 
Christ  into  his  death,  presents  him  with  the  redemptive  power  of  his 
blood,  and  thus  reveals  Baptism  as  a  water  of  life,  through  the  renewing 
influence  of  the  Holy  Ghost. 

The  hymn  was  printed  on  sheets,  in  1541;  in  1542  it  was  published  in 
the  Magdeburg  Gesangbuch,  and  in  1543  or  1544  in  the  "Geistliche 
Lieder." 

CrIiaH  uns;,  ?l^err,  bti  beinem  Mort 


TRANSLAnONS 


Lord,  keep  us  steadfast  in  Thy  Word 

f  C.  U.  6  ^r  Closing  Hymn 

IN.  C.  U.  8  IITLES^^  jj^^^  ^^^  p^ 


Peace 


t 


-ri- 


-^ f2- 


^ 


-7^ 


m 


i 


% 


^/2- 


1^     r^     f^- 


-f2. 


i=t: 


gj   gg 


— I — h — I 

T  ORD ,  keep  us  steadfast  in  Thy  Word ; 
*^     Curb  those  who  fain  by  craft  or 
sword 
Would  wrest  the  kingdom  from  Thy 

Son, 
And  set  at  naught  all  He  hath  done. 

2.  Lord  Jesus  Christ,  Thy  power  make 

known, 
For  Thou  art  Lord  of  lords  alone; 
Defend  Thy  Christendom,  that  we 
May  evermore  sing  praise  to  Thee. 

3.  O  Comforter,  of  priceless  worth, 
Send  peace  and  unity  on  earth, 
Support  us  in  our  final  strife, 
And  lead  us  out  of  death  to  hfe. 

Tr.  Catherine  Winkworth.  1863. 


rl^alt  un§,  §err,  bei  beinem  2Bort 
Unb  ftcure  beiner  geinbe  9Jlorb, 
[Original:  unb  fteur  be§  %o^\i%  unb 

5tiir!en2Rorb.] 
®ic  ^e[um  (^)rtftum,  beinen  ©o'^n, 
(Stur^en  toollcn  bon  betnem  St^ron. 

2.  35ett)et§  bein  SJladfit  ^txx  Qefu  (^)ri[t, 
^er  bu  ^crr  alter  ^erren  btft, 
39ef(^irm  bein  arme  (Piriften^eit, 
^afe  [ie  bid)  lo6  in  ©toigfeit 

3.  ®ott  f)eilger  ©eift,  bu  SCrofter  toert^, 
©ib  betm  SSol!  etn'rtei  (Sinn  auf  @rb; 
(Stc^  bet  un§  in  ber  lel^ten  S^Jot^, 
©leit  unS  in§  Sefien  au§  bent  ^ob. 


136 

TT  is  still  remembered  that,  during  the  days  when  this  hymn  was  first 
sung,  in  the  Protestant  churches,  the  glory  of  the  German  Empire  had 
almost  departed.  The  Pope  was  fully  resolved  to  destroy  the  ''Lutheran 
heresy."  The  powerful  confessional  writings  of  the  Smalkald  Articles 
thoroughly  enraged  him.  He  had  a  willing  vassal  in  the  Emperor,  Charles 
V,  who  would  only  too  gladly  have  involved  the  Protestant  states  in  war, 
had  he  not  been  restrained  by  the  repeated  dissensions  of  the  French. 
And,  when,  at  last,  he  considered  himself  in  a  position  to  strike,  the  in- 
vasion of  the  Turks,  on  his  south-eastern  borders  offered  him  a  stronger 
and  more  stubborn  foe.  When  the  emperor  found  his  army  too  weak  to 
meet  the  Turk,  he  was  glad  to  concihate  the  Protestant  princes  and  solicit 
the  assistance  of  their  troops.  The  Lutheran  princes  remembered  the 
divine  injunction:  "Love  thy  neighbor,"  and,  therefore,  furnished  well 
armed  troops,  and  financial  support  for  the  cause  of  the  war.  History, 
however,  reveals  some  disgraceful  facts.  The  Lutheran  allies  were  placed 
in  the  front  ranks  in  battles  and  were  miserably  supported.  According 
to  captain  Schertlin,  their  money  was  squandered  and  diverted  from  the 
object  for  which  it  had  been  given.  No  wonder  the  Turk  inflicted  re- 
peated defeats  upon  the  Emperor  and  drove  back  his  forces,  until  parts 
of  Austria  and  all  Hungary  were  overrun,  and  Germany  threatened.  The 
adage  "Where  the  Turk  treads  no  grass  grows"  became  a  terrible  reality. 
Towns  and  villages  were  razed,  and  people  tormented  or  dragged  into 
slavery.  The  name  of  Jesus  was  blasphemed  most  shockingly.  But  for 
the  brave  resistance  of  the  Germans,  and  the  strengthening  and  encour- 
agement of  their  men,  in  their  extremity,  by  appropriate  and  soul-stirring 
hymns,  the  country  would  have  been  laid  waste,  from  the  Black  Sea  to  the 
Elbe,  yea,  even  to  the  Rhine.  Believing  their  cause  righteous,  they  every- 
where appealed  to  God  for  help;  in  Saxony,  Hesse,  and  Brandenburg. 
They  were  convinced  a  righteous  cause  must  prevail,  and  the  divine 
Word  remain:  "Thus  far  shalt  thou  go  and  no  farther."  Luther  assisted 
and  inspired  his  people  by  his  utterances,  and  his  pen.  During  these 
grievous  times,  weekly  services  were  held  in  the  churches,  and  the  God 
of  Hosts  was  implored  for  mercy  and  help.  Mindful  of  the  promise,  that 
out  of  the  mouths  of  babes  the  Lord  ordains  strength,  parents  brought 
their  children  to  church  that  they  might  join  them  in  the  Amens  that 
followed  the  prayers. 

The  probable  date  of  the  hymn  is  1541,  when  a  service  of  Prayers, 
against' the  audacious  Turks,  was  held  in  Wittenberg.  Luther  prepared  a 
special  Office  in  which  most  of  the  music  was  arranged  for  the  boys  of  the 


137 

choir.  In  Klug's  book,  it  bore  the  title:  "A  Hymn  for  the  children  to 
sing  against  the  two  arch-enemies  of  Christ  and  his  holy  Church,  the 
Pope  and  the  Turks."  At  a  later  date,  a  fourth  stanza  was  added  by  an 
unknown  hand: 

Ach,  Gott!  lass  dir  befohlen  sein 
Die  hart  bedraengten  Christen  dein! 
Beim  festen  Glauben  uns  erhalt, 
Und  reiss  uns  aus  der  Feind  Gewalt. 

The  wife  of  the  Elector,  John  Frederick,  when,  after  the  battle  of 
Muehlberg,  he  had  lost  both  crown  and  country  and  was  languishing  in 
prison,  changed  the  fourth  stanza  into  an  intercessory  prayer  which  the 
congregation  sang  as  follows: 

Ach,  Herr,  lass  dir  befohlen  sein 
Unsern  Landsherrn,  den  Diener  dein, 
In  festem  Glauben  ihn  erhalt, 
Und  rett'  ihn  aus  der  Feind  Gewalt. 

One  or  two  additional  stanzas  came  from  the  pen  of  Justus  Jonas,  prob- 
ably in  1545. 

Frederick  Klippgen,  in  his  book  of  1912,  claims  he  found  this  hymn  in 
the  Luther-codex  of  Kadesch,  dated  15v30,  and  that  it  contains  the  humor 
of  the  hymns  of  1520.  It  is  a  poem,  prepared  for  some  occasion,  which 
appeared  at  a  much  later  date,  in  the  turning  away  of  the  Church.  Med- 
lar mentions  it  in  the  Naumburger  Kirchenordnung,  of  1537,  as  one  of  the 
hymns  intended  to  be  sung  after  the  sermon. 

Nicholas  Selnecker  shows  how  beautifully  the  train  of  thought  of  the 
first  three  stanzas,  the  original  by  Luther,  follows  the  order  of  the  first 
three  petitions  of  the  Lord's  Prayer. 

Stanza  1  prays  to  God,  the  Father,  for  help  to  keep  his  Holy  Word; 
2  prays  to  God,  the  Son,  for  the  coming  of  his  Kingdom,  and  strength  to 
believe  his  Word  and  live  a  godly  life  in  accordance  with  it;  3  prays  to 
God,  the  Holy  Ghost,  for  the  communion  of  his  saints,  on  earth  and  in 
heaven. 

The  hymn  was  printed  on  broad-sheets  in  Wittenberg,  1542.  It  ap- 
peared in  the  Magdeburg  Gesangbuch  of  1542,  and  in  Klug's  Geistliche 
Lieder,  Wittenberg,  1543  or  1544. 

npHE  hjmin  was  naturally  distasteful  to  the  Papists.     When,  after 

Luther's  death,  the  Protestant  states  had  been  conquered,  by  the 

Emperor  and  his  Spaniards,  and  forced  to  syncretism,  the  singing  of  it 


138 

was  forbidden  on  pain  of  death.  A  duke  of  Bavaria  said  to  his  servants, 
"For  aught  I  care,  you  may  gormandize,  get  drunk,  and  profligate,  only 
do  not  become  Lutheran  and  sing  the  infamous  hymn,  "Erhalt  uns,  Herr, 
bei  deinem  Wort." 

FJUKE  ERNEST,  of  Braunschweig,  had  a  different  opinion  of  it.  When, 
after  the  death  of  Charles  V,  a  Spanish  envoy  came  to  his  court  and, 
out  of  deference  to  his  host,  accompanied  him  to  church,  he  heard  the 
singing  of  the  hymn.  He  complained  about  it,  but  the  duke  said,  ''My 
pastor  is  not  called  that  I  might  dictate  to  him  what  he  shall  preach  or 
sing,  but  he  is  called  that,  in  God's  stead  and  by  authority  of  his  Word,  he 
shall  tell  me,  and  all  my  people,  what  we  shall  beheve  and  do  in  order  to 
be  saved.  We  shall  hear  and  obey  him,  even  as  God  and  Christ;  and  for 
this  reason  I  do  not  know  how  I  may  forbid  his  singing  this  hymn.  If  you 
prefer  not  to  hear  it,  then  you  must  remain  out  of  church  or  go  back  to 
Spain." 

'T^HOMAS  SMITH  relates  that  the  Sultan  held  a  convocation  of  scholars 
of  his  empire  and  inquired  of  them  whether  they  believed  he  might 
succeed  if  he  waged  war  upon  the  Christians.  They  answered  him  by 
telling  him  that  if  he  proceeded  against  them,  as  a  man  against  men,  he 
would  undoubtedly  be  victorious,  but,  said  they,  "There  are  many  chil- 
dren in  Germany  who  constantly  sing:  'Erhalt  uns,  Herr,  bei  deinem 
Wort.'  These,  unarmed,  will  beat  you  off  and  cause  your  retreat.  Be 
their  cry  true  or  not,  we  Christians  know  that  such  will  be  the  incontro- 
vertible result." 

'T^HE  Roman  Catholic  commander,  Tilly,  dealt  less  mercifully  with  the 
children  of  Magdeburg  than  the  Turks.  After  a  long  siege  he 
stormed  the  city,  on  the  morning  of  the  20th  of  May,  1631.  His  cruel 
soldiers  raved  like  savage  beasts.  While  the  school  children  marched 
across  the  public  square,  on  their  way  to  the  church  for  refuge,  they  sang 
this  hymn.  This  infuriated  Tilly  to  such  an  extent  that  he  commanded 
his  Croats  to  charge  upon  them  with  their  spears,  and  to  throw  them  into 
the  flames.     The  Pope  celebrated  the  fall  of  Magdeburg  with  a  Te  Deum. 

gY  an  edict  of  this  sad  war,  all  Lutheran  preachers  were  banished  from 

Bohemia,  and  the  papal  altars  were  restored  in  their  churches.     The 

aged  minister  of  Reichenbach,  Andrew  Heisch  (now  eighty-three  years 


Luther's  hymns  139 

old),  who  had  served  his  church  for  fifty- three  years,  was  among  the 
number.  While  the  old  man,  leaning  heavily  upon  his  cane,  passed 
through  the  gate  of  the  city,  the  Papists  caused  all  bells  to  be  tolled. 
But  the  old  man  was  not  alone;  more  than  two  thousand  of  his  parishioners 
and  admirers  accompanied  him  to  an  elevation,  but  a  short  distance  from 
the  city-enclosure,  where  he  dehvered  his  farewell  address.  He  based  his 
remarks  upon  the  Acts  of  the  Apostles  20  :  17-38.  After  the  closing 
prayer,  of  that  service,  the  congregation  sang  "Erhalt  uns,  Herr,  bei  dei- 
nem  Wort."  and  parted  from  him. 

A  NOTHER  incident  of  the  Thirty  Years'  War  is  worth  noting.  A 
Swedish  general  had  sold  to  the  citizens  of  Eisfeld  two  sweet-toned 
bells  for  their  town  church.  The  bells  had  been  taken  from  the  cloister  of 
Banz.  While  CathoKc  soldiers  encamped  in  Eisfeld,  the  monks  of  Banz 
made  two  attempts  to  remove  the  bells.  Their  first  attempt  failed  through 
the  encounter  of  a  conscientious  Croat  who  resisted  them  because  they 
endeavored  to  remove  also  a  tower-clock.  The  Croat  pressed  upon  the 
monks,  with  his  sword,  and,  accompanied  by  fellow  soldiers,  ascended  the 
tower  and  rang  the  bell  so  \'igorously  that  they  abandoned  their  purpose. 
They,  however,  carried  off  the  clock.  The  monks  m^ade  a  second  attempt 
to  remove  the  bell,  but  failed  again.  As  they  were  about  to  leave,  a 
smaller  bell  was  ofi^ered  them.  When  they  read  the  inscription,  "Erhalt 
uns,  Herr,  bei  deinem  Wort,"  cast  upon  it,  they  declined  the  gift  and  went 
away.  Duke  Ernest,  The  Pious,  was  presented  with  this  bell,  as  a  thank- 
offering  for  his  loyalty  to  the  people  of  Eisfeld  and  their  cause,  and  he 
hung  it  upon  the  "Peace-Stone,"  a  memorial  stone  in  Gotha. 


I40 


LUTHER  S  HYMNS 


Translations 


4 


©er  bu  faisit  JSrei  in  Cinigfeeit 

Thou  who  art  three  in  unity 

O  lux  beata  trinitas 
C.  U.  2 
N.  C.  U.  12 


(An  liiVemng  Hymn 


3 


5 


-3^- 


^ 


-Z5i- 


-25^ 


i 


I 


3 


-25^ 


ier  bu  btft  brei  in  (5inig!eit 
^^'''^  (Sin  toaster  ©ott  bon  @tt)ig!eit: 
S)ie  (Sonn  mit  bem  Stag  bon  un§  tDcid^t, 
Safe  leud^ten  un^  bein  gottlid^  Sid^t. 

2.  T)e§  9JJorgen§,  ®ott,  bid^  loben  h)it, 
5)e§  3l6enb§  aud^  fieten bor  bit; 
Unfer  arme§  Cieb  ru^met  bid}, 
:3e^unb  immer  unb  etoiglic^. 

3.  ©ott  3Sater  bem  f ei  etctg  ^r, 
®ott  ©o^n,  ber  ift  ber  einig  ^ett, 
Unb  bem  Crofter,  ^eiligen  ©eift, 
i8on  nun  on  6i§  in  (Srt)ig!eit. 


'T^HOU  who  art  three  in  unity, 
True  God  from  all  eternity, 
The  sun  is  fading  from  our  sight, 
Shine  thou  on  us  with  heavenly  hght. 

2.  We  praise  thee  with  the  dawning  day, 
To  thee  at  evening  also  pray. 
With  our  poor  song  we  worship  thee 
Now,  ever  and  eternally. 

3.  Let  God  the  Father  be  adored, 
And  God  the  Son,  the  only  Lord, 
And  equal  adoration  be, 
Eternal  Comforter,  to  thee. 


T^HIS  is  one  of  the  twelve  hymns  which  the  Benedictine  editors  re- 
garded as  the  work  of  St.  Ambrose,  whose  Latin  text  follows: 

"O  lux  beata,  trinitas  "Te  mane  laudum  carmine, 

et  principalis  unitas,  te  deprecemur  vespere, 

Jam  sol  recedit  igneus  Te  nostra  supplex  gloria 

infunde  lumen  cordibus.  per  cuncta  laudet  saecula." 

About  three  years  before  his  death,  Luther  translated  these  beautiful 
lines  into  German,  and  added  a  third  stanza.  It  is  one  of  his  last  hymns. 
The  original  text  has  been  frequently  translated  into  German,  and, 
through  three  of  these  versions,  has  passed  into  EngHsh. 

Its  almost  universal  use  was  at  Vespers  on  Saturdays,  as  is  indicated  in 
the  older  Roman  Order,  Venice,  1478.  There  were  also  occasions  when 
it  was  assigned  to  Vespers,  or  Lauds,  on  Trinity  Sunday. 

It  is  a  Vesper  Hymn  of  Praise  to  the  Blessed  Trinity.  Stanza  1 
pleads  for  a  heart  set  aglow  while  the  glory  of  day  pales  into  night;  2 
breathes  the  earnest  of  continual  praises;  and  3  is  a  Doxology. 

The  hymn  appeared  in  King's  book,  Wittenberg,  1543;  Babst,  1545; 
the  Madgeburg  edition  of  1551;  and  other  minor  publications. 


CONTEMPORANEOUS  HYMNS 

AND 

THEIR  AUTHORS 

Authorities  are  greatly  divided  over  the  ascription  of  certain  hymns 
that  appeared  simultaneously  with  the  hymns  of  Luther.  Believing  it  to 
be  of  special  interest  to  read  brief  accounts  of  a  few,  the  following  are 
given. 

an  €hv  unb  Hob  Ml  ^ottt^  Mn 
To  God  be  glory,  peace  on  earth 

Gloria  in  excelsis  Deo 
St.  Luke  2  :  14 

npHE  simple,  original,  form  of  the  Latin  of  this  hymn  is  contained  in 
the  Song  of  the  Angels:  ^^ Glory  to  God  in  the  highest,  and  on  earth 
peace,  good-will  toward  men,"  and  came  into  early  use.  It  is  found  in 
the  "Liturgy  of  St.  James,"  where  it  is  directed  to  be  recited,  by  the 
Minister  (priest)  when  the  gifts  were  "sealed." 

From  such  a  simple  beginning,  it  soon  expanded  into  the  form  of  an 
elaborate  hymn.  The  most  complete  text,  the  form  in  which  it  existed  in 
the  5th  century,  is  given  at  the  end  of  the  Psalms  and  Canticles,  in  the 
Codex  Alexandrinus,  of  the  same  century,  and  is  on  file  in  the  British 
Museum. 

Translations  of  the  original  text,  into  EngKsh  and  German,  and  from 
the  German  into  EngKsh  and  other  tongues,  are  very  numerous.  A 
rendering  into  four  stanzas,  of  seven  lines  each,  by  Nicolaus  Decius,  ap- 
peared first  in  Low  German  as,  "Alleine  God  in  der  hoege  sy  eere,"  the 
Rostock  Gesang  Buch  of  1525.  A  copy  of  it  is  preserved  in  the  library 
of  the  Rostock  University.  Wackernagel  quotes  it  from  the  Rostock 
Gesang  Buch,  of  1526,  and,  in  High  German,  from  V.  Schuman's  Gesang 
Buch,  Leipzig,  1539.  Also  the  melody  is  ascribed  to  Decius.  This,  as 
well  as  the  text,  soon  became  a  favorite  in  Germany,  and  was  used  in 
high  festivals,  on  Communion  and  other  occasions,  and  has  been  in  almost 
universal  use,  to  this  day. 

141 


142  Luther's  hymns 

The  Kirchenbuch  credits  Kaspar  Loener,  1529,  for  the  German  ver- 
sion, now  in  use,  and  divides  it  into  two  parts,  suitable  for  responsive 
song,  by  two  choirs. 

Klippgen  says,  Medler  printed  the  hymn  under  Luther's  name,  in 
1537.  He  reasons  that,  since  Luther  reviewed  the  Naumburger  Kirchen- 
ordnung,  there  can  be  no  doubt  as  to  his  authorship. 

It  appeared  in  Klug's  book,  Wittenberg,  1543;  in  Babst,  1545;  and  in 
Spangenberg,  Magdeburg,  1545. 

©er  tlag,  tier  i£ft  s;o  freubenreicti 

Royal  day  that  chasest  gloom 

Dies  est  laetitiae 

'T^HE  Latin  of  this  Christmas  hymn  is  ascribed  to  Adam  of  St.  Victor,  of 
the  12th  century.  Some  authorities  locate  it  in  the  14th  century. 
A  German  national  hymn,  as  a  translation  of  the  Latin,  appeared  in  the 
15th  century.  It  is  claimed  Luther  accepted  this  unchanged.  The 
national  hymn,  "Ein  Kindelein  so  loeblich,"  associated  with  this  hymn, 
appeared,  as  a  second  stanza,  also  in  the  15th  century. 

Koch  places  the  original  stanza  in  1524.  It  was  published  by  Klug, 
Wittenberg,  in  1535.  Wackernagel  omits  both  stanzas  in  his  collection  of 
Luther's  hymns. 

i^un  treifien  toir  ben  ^apsft  fjeraus; 

Now  banish  we  the  Pope 

npHIS  poem  has  a  companion,  or  sequel,  in  "Der  Papst  und  Greul  ist 
ausgetrieben,"  The  Pope  and  abomination  are  expelled.  Both 
these  poems  were  designed  to  be  sung  by  the  children  in  their  Shrove-tide 
games.  On  Wednesday  before  Laetare,  the  fourth  Sunday  in  Lent,  that 
is,  in  "Mid-Lent,"  the  young  people,  after  the  manner  of  an  old  custom, 
celebrated  a  "Springtime"  festival  in  the  open  air.  The  conflict  between 
winter  and  spring  was  portrayed  in  the  following  manner :  Winter,  repre- 
sented by  a  figure  composed  of  moss  and  straw,  was  vanquished  and  slain 
by  summer,  impersonated  by  a  lad  covered  with  leaves.  Hymns  were 
sung  during  the  processional  and  recessional  of  the  company. 

Luther  was  undoubtedly  familiar  with  these  games,  and  his  own  sons 
may  have  been  participants,  while  he  watched  them  and  shared  their 
joys.     Other  instances  also  show  that  Luther  was  inclined  to  view  worldly 


H3 

pleasures  as  types  of  spiritual  things,  and  also  his  war  with  the  Pop)e. 
We  have  a  fine  example  of  this  in  his  hunting  expeditions,  to  which  he  was 
occasionally  invited.  When  viewed  in  this  light,  there  seems  to  be  suffi- 
cient evidence  to  ascribe  both  poems  to  Luther.  This  was  done  for  many 
years.  Later  researches,  however,  show  that  Luther  simply  promoted 
the  pubHcation  of  the  poem  which  his  friend  Mathesius  brought  to  him. 
(Koestlin's  Luther,  Edition  2,  Vol,  2.  pp.  613,  686.)  We  also  detect  a 
strain  in  it  which  does  not  harmonize  with  his  style  in  other  poems. 
The  purpose  of  the  hymn,  as  compared  with  its  contents,  marks  the  differ- 
ence. In  other  instances  Luther,  as  author  by  divine  grace,  understands 
how  to  give  expression  to  a  childlike  spirit.  To  appreciate  this  it  is  but 
necessary  to  recall  his  Christmas  hymns  by  which  he  strove  to  reanimate 
adults  with  the  thought  and  activity  of  a  child ;  and  it  is  not  to  be  taken 
for  granted  that,  in  the  case  of  a  hymn,  even  for  child's  play,  when  he 
gives  it  a  spiritual  direction,  he  should  have  sung  it  in  the  strain  of  a 
learned  perception  and  mature  experience.  In  the  second,  or  recessional 
hynm,  the  childKke  intuition  is  more  clearly  felt,  from  which  view-point 
fewer  scruples  arise  against  the  probable  authorship  of  Luther.  But  the 
hymn  did  not  appear  in  print  until  1569,  which  would  leave  room  only  for 
the  theory  that  it  is  a  posthumous  poem. 

Stanzas  1-2  drive  out  the  Pope  from  the  Church  where  he  has  injured 
many  souls;  3  securely  binds  his  indulgences,  bulls,  decretals,  instruments 
of  theft  and  disgrace;  4-5  cast  down  the  Roman  idol  and  enthrone  Christ, 
the  true  High  Priest;  6  Jesus  reigns  alone.  He  is  the  head  of  all  Christen- 
dom, to  Him  be  praise;  and  7  bespeaks  the  peace  of  God,  and  fruitful 
seasons,  during  the  approaching  summer,  and  defends  God's  own  against 
the  Pope  and  the  Turk. 

Cljrfet,  ber  bu  bi^t  Hitf^t  unb  WaQ 

Christ,  who  art  light  and  day 

Christe,  qui  lux  et  die 

npHIS  h)min  occupies  a  unique  position  in  Dutch  hymnody  and  is  the 
only  instance  of  a  hymn  passing,  without  interruption,  from  the  an- 
cient office  books  of  the  church  into  general  use  among  the  Reformed.  It 
is  a  development  of  a  composition  by  Wolfgang  Meusslin  (Musculus), 
professor  of  theology  in  Berne,  who  died  Aug.  30,  1563.  A  Wesleyan 
missionary,  Mr.  Shaw,  in  his  "Memorials  of  South  Africa,"  calls  it  the 
*' beautiful  evening  hymn  of  the  natives." 


144  LUTHER'S  HYMNS 

0  bu  armer  Jubasf  taaj(  fiafit  bu  getftan? 

O  thou  poor  Judas,  what  hast  thou  done? 
'T^HIS  is  a  paraphrase  of  the  ancient  Judas  Hymn. 

^ti  Hob,  (£fir,  $re(£f  unli  l&erjlicijfeeit 
3cfi  tdill  ben  llerren  lolien  allejeit 

Psalm  33 

3cti  banfe  bem  l^tvvn  ban  ganjem  Jlerjen 

Psalm  111 

30a  Mxatl  m^  €gppten  50s 

Psalms  114  and  115 

Cfjrisft  fe  bie  Saafjrfteit  unb  bas;  ILtbm 

St.  John  14 

3n  meinem  €Ienb  is(t  biesf  mein  ®ros(t 

Job  19 

These  are  titles  of  hymns  credited,  by  certain  authors,  to  Luther;  but 
the  most  reliable  authorities  fail  to  corroborate  the  claim. 

n^HE  following  are  a  few  prominent  hymn-writers,  of  Luther's  time, 
and  titles  of  their  hymns: 

Philip  Melanchthon,  born  Feb.  16,  1497,  died  April  19,  1560. 
Herr  Gott,  dich  loben  alle  wir. 

Justus  Jonas,  bom  June  5,  1490  (1493?),  died  Oct.  9,  1555. 

A  Saxon  reformer,  friend  and  assistant  of  Luther,  who  was  present  at 
Luther's  death  and  preached  his  funeral  sermon. 

Der  Herr  erhoer  euch  in  der  Noth. 
Herr  Jesus  Christ  dein  Erb  wir  sind. 
Wo  Gott  der  Herr  nicht  bei  uns  haelt. 

He  also  composed  the  fifth  stanza  of  Luther's 
Erhalt  uns,  Herr,  bei  deinem  Wort. 


'-7 


./^^      ./ 


:..•/,  .♦' 

V-  — _ 

-  ^-^V^  "-  t""-*^: 


Luther's  Winter  Pleasures. 

Designed  by  Gustav  Koenig. 


Luther's  hymns  145 

Paul  Eber,  born  Nov.  8,  1511,  died  Dec.  10,  1569. 

Eber  was  to  Melanchthon  what  Jonas  was  to  Luther.  His  father  was 
a  master-tailor,  in  Kitzingen.  He  graduated  at  the  University  of  Wit- 
tenberg in  1536,  and  taught  philosophy,  Latin  and  Hebrew,  and  received 
his  D.D.  in  1559. 

Helft  mir  Gottes  Guete  preisen. 

Herr  Jesu  Christ,  wahr'r  Mensch  und  Gott. 

Wenn  wir  in  hoechster  Noth  und  Pein. 

John  Agricola,  born  April  20,  1492,  died  Sept.  25,  1566. 

He  was  born  at  Eisleben  and,  on  account  of  his  delicate  frame,  was 
commonly  known  as  ^'Magister  Grickel." 

Ich  ruf  zu  dir,  Herr  Jesu  Christ. 
Froelich  wollen  wir  AUeluja  singen. 

John  Spangenberg,  born  1484,  died  1550. 

A  native  of  Nordhausen.  He  served  the  Church  as  Superintendent  at 
Eisleben. 

Der  HeiFgen  Leben  thut  stets  nach  Gott  streben. 

He  published  the  Nordhausen  Gesangbuch  in  1545. 

Cyriakus  Spangenberg,  born  June  7,  1528,  died  Feb.  10,  1604. 

Son  of  the  former  Spangenberg,  and  a  messmate  of  Luther.  He  served 
as  Chief-marshall  in  Mansfield. 

Nach  dir,  O  Herr,  verlanget  mich. 
Am  dritten  Tag  ein'  Hochzeit  ward. 
Da  Jesus  nun  hatt'  dreissig  Jahr. 

He  published  a  book  of  114  hymns,  in  1568,  and  his  ^'Cythara 
Lutheri,''  m  1569. 

Elizabeth  Cruciger,        ,        died  May,  1535. 

She  was  a  daughter  of  a  family  belonging  to  the  Polish  nobility. 
Persecutions  drove  her  people  to  Wittenberg  where  she  married  Casper 
Cruciger,  in  1524.  The  Crucigers  were  very  intimate  friends  of  Luther 
and  his  family. 

Herr  Christ,  der  einig'  Gottessohn. 
10 


146 

Paul  Speratus,  born  Dec.  13,  1484,  died  Sept.  17,  1554. 

Speratus  matriculated  at  the  University  of  Freiburg  (Baden),  in 
1503.  He  also  studied  in  Paris,  and  at  some  of  the  Italian  universities. 
In  1518  he  was  a  preacher  in  Bavaria.  Count  Leonhard  von  Zech  asked 
him  to  reply  to  a  violent  sermon  against  marriage  by  a  monk  in  St. 
Peter's  Church,  in  Vienna.  By  order  of  the  bishop  he  preached  in  St. 
Stephen's  Cathedral,  on  the  Epistle  for  the  1st  Sunday  after  Epiph- 
any, and  set  forth  the  true  status  of  the  monastic  life  and  enforced 
celibacy,  and  also  explained  the  doctrine  of  Justification  by  Faith.  He 
came  to  Wittenberg  in  1523,  and  assisted  Luther  in  his  preparation  of 
the  ''Etlich  christlich  Kder,"  which  contains  three  of  his  hynms.  He 
took  a  prominent  part  in  drawing  up  the  Kirchenordnung,  for  the 
Prussian  church,  which  was  presented  to  the  Diet,  Dec,  1525,  and 
printed  in  1526. 

Es  ist  das  Heil  uns  kommen  her. 
In  Gott  gelaub  ich,  dass  er  hat. 
Hilf  Gott,  wie  ist  der  Menschen  Noth. 
Ich  ruf  zu  dir,  Herr  Jesu  Christ. 

John  Graumann,  born  July  4,  1487,  died  April  29,  1541. 

Graumann  was  called  ^ToHander,''  and  assisted  Speratus  in  his  re- 
formatory labors  in  Prussia.  While  he  served  as  Dr.  Eck's  secretary,  in 
the  Leipzig  Disputation,  he  was  converted  to  Protestantism  through 
Luther's  scholarly  use  of  the  Holy  Scriptures.  Invited  by  the  Margrave 
Albrecht  of  Brandenburg  to  aid  the  Reformation  in  Prussia,  he  began 
to  preach  in  the  Aldstadt  church  in  Koenigsberg,  in  Oct.,  1525. 

Nun  lob'  mein  Seel'  den  Herren. 

The  Margrave  Albrecht  of  Brandenburg-Culmbach,  born  March  28, 
1522,  died  Jan.  8,  1557. 

This  Alcibiades  of  Germany  was  a  brave  soldier.  He  accompanied  the 
Emperor  Charles  V  to  his  French  war  in  1544,  and  against  the  Schmal- 
kald  Protestant  Union,  1546.  In  1552  he  took  his  stand  as  a  Protes- 
tant prince. 

Was  mein  Gott  will,  das  g'scheh  allzeit. 


U7 

Lazarus  Spengler,  born  March  13,  1479,  died  Sept.  7,  1534. 

A  son  of  the  town-clerk  of  Nuernberg  who  wrote  much  in  defence  of 
Luther's  teaching  and  sermons.  He  learned  to  know  and  admire  Luther 
while  Luther  passed  through  Nuernberg  on  his  way  to  Augsburg.  His 
name  also  appeared  on  the  Pope's  Bull  of  Excommunication  issued 
against  Luther,  June  15,  1520. 

Durch  Adam's  Fall  ist  ganz  verderbt. 
Vergebens  ist  all  Mueh  und  Kost. 

Hans  Sachs,  born  Nov.  5,  1494,  died  Jan.  25,  1576. 

He  called  himself  the  cobbler  and  poet.  Luther,  he  called,  "The 
Nightingale  of  Wittenberg." 

Warum  betruebst  du  dich,  mein  Herz. 

After  some  200  of  his  poems  had  appeared  in  print,  George  Mueller 
collected  and  pubKshed  them,  in  Nuernberg,  in  1558. 

Veit  Dietrich,  born  1506,  died  March  26,  1549. 
A  preacher  in  St.  Sebaldus  Church,  in  Nuernberg. 
Bedenk,  o  Mensch,  die  grosse  Gnad. 

Sebaldus  Heyd,  born  1498,  died  July  9,  1561. 
Rector  in  the  St.  Sebaldus  school. 

O  Mensch,  bewein'  dein'  Suende  gross. 
Wer  in  dem  Schutz  des  Hoechsten  ist. 

John  Hesse,  born  Sept.  23,  1490,  died  Jan.  6,  1547. 

This  man  was  greatly  honored  by  the  Roman  Church.  He  was  ap- 
pointed secretary  to  the  bishop,  in  Reuss,  in  1513;  he  was  given  the  degree 
of  Doctor  of  Theology,  and  appointed  a  sub-deacon,  in  Ferrara,  in  1519; 
became  a  deacon  in  Rome,  in  1520;  and  Canon  of  the  Chapter,  in  Reuss, 
Brieg  and  Breslau,  in  1521.     In  1522,  he  embraced  the  Protestant  faith. 

O  Mensch,  bedenk  zu  dieser  Frist. 
O  Welt,  ich  muss  dich  lassen. 


148  Luther's  hymns 

Michael  Stieffel,  born  1487,  died  April  19,  1567. 

Reformer  of  Essling. 

Dein  armer  Hauff,  Herr,  thut  klagen. 

Johannes  thut  uns  schreiben  von  einem  Engel  klar. 

Georg  Gruenwald,      ,      died  1530. 

He  was  an  Anabaptist  shoemaker  who,  for  his  principles,  was  burnt 
at  the  stake,  1530,  at  KopfFstain.  An  Anabaptist  Chronicle,  preserved 
in  the  public  library  in  Hamburg,  credits  him  with  the  hymn: 

Kommt  her  zu  mir,  sagt  Gottes  Sohn. 

Prince  George  of  Wuertemberg,  born  Feb.  4,  1498,  died  July  17, 
1558. 

Gott  sei  uns  gnaedig. 
Psalm  67. 

Hermann  Bonn,  born  1504,  died  Feb.  12,  1548. 

He  matriculated  at  Wittenberg  in  1523,  and  thus  became  a  pupil  of 
Luther  and  Melanchthon.  He  became  rector  of  St.  Mary's  School,  Lue- 
beck,  in  1530,  and  was  appointed  Superintendent  of  Luebeck  in  1531. 
He  occupied  much  of  his  time  in  revising  old  Latin  hymns  and  trans- 
lating them  into  Low  German.  He  is  the  founder  of  the  Low  German 
Hymnody.  In  1543  he  came  to  Osnabrueck,  where  his  labors  won  that 
principality  to  the  cause  of  the  Reformation. 

Ach  wir  armen  Suender. 

Jesus  Christus  wahr'  Gottes  Sohn. 

Andrew  Knoepken,  born  about  1490,  died  Feb.  18,  1539. 

He  assisted  John  Bugenhagen,  the  principal  of  the  school  at  Treptow, 
in  East  Pomerania.  Through  a  tumult,  he  was  banished  from  his  home 
and,  in  his  flight,  came  to  Riga,  in  1522,  where  he  was  the  first  Lutheran 
preacher  to  declare  the  Protestant  creed.  He  prevailed  over  the  monks 
in  a  disputation  and  was  appointed  Archdeacon  of  St.  Peter's  Church. 

Hilf  Gott,  wie  geht  das  immer  zu. 
Von  alien  Menschen  abgewandt. 


LUTHER'S  HYMNS  I49 

John  Freder,  born  Aug.  29,  1510,  died  1562. 

He  began  preaching  in  his  native  city,  Coeslin.  Later  he  became  con- 
rector  in  the  school  and  pastor  of  the  cathedral,  in  Hamburg. 

Ach  Herr,  mit  deiner  Hilf  erschein. 
Gott,  Vater,  in  dem  Himmelreich. 

NicoLAUS  Decius,      ,      died  March  21,  1541. 

Decius  is  supposed  to  have  been  a  native  of  Upper  Franconia, 
Bavaria,  and  was  known  as  Tech.  Originally  a  monk,  he  became  pro- 
vost of  the  cloister  at  Steterburg,  near  Wolfenbuettel.  Convinced  of  the 
soundness  of  Luther's  opinions,  he  embraced  Protestant  Christianity 
and,  in  1522,  he  came  to  Brunswick,  where  he  was  appointed  master 
in  the  St.  Katherine  and  Egidien  School.  Later,  he  became  pastor  of 
St.  Nicholas's  Church  in  Stettin.  As  a  master  musician,  and  especially 
skillful  on  the  harp,  he  composed  and  adapted  many  tunes  to  Protestant 
worship. 

Allein  Gott  in  der  Hoeh  sei  Ehr. 

Luther  said,  "One  feels,  indeed,  that  this  hymn  has  not  grown,  nor 
been  made,  on  earth, — it  came  down  from  heaven." 

Heilig  ist  Gott,  der  Vater. 

O  Lamm  Gottes  unschuldig.     (1531.) 

This  is  the  oldest,  original  Passion-Hymn  in  the  Christian  Church. 

John  Schneesing,  poet  and  artist,      ,      died  1567. 

He  was  called  "Chiomusus,"  and  became  vicar  of  the  Church  of  St. 
Margaret,  in  Gotha,  where  he  composed  a  splendid  Protestant  Agenda. 
A  Muenzer  fanatic,  by  the  name  of  Storch,  caused  him  much  anxiety  and 
labor  until  he  was  convinced  of  the  truth.  Schneesing  was  especially 
faithful  in  instructing  the  young,  for  whom  he  prepared  a  catechism. 
He  also  taught  them  to  sing  many  hymns,  and  tunes  of  his  own  com- 
position. 

Allein  zu  dir,  Herr  Jesu  Christ. 

Adam  Reissner,  born  1496,  died  1575. 

As  student  of  the  noted  Reuchlin  he  became  proficient  in  the  classics. 
Reissner  was  a  governor  of  the  sons  of  Captain  George,  of  Freundsberg. 


150  LUTHER'S  HYMNS 

It  was  Freundsberg  who  said  to  Luther,  as  he  entered  the  city  of  Worms, 
"Monk,  monk,  this  day  thou  goest  upon  a  difficult  way;  hke  I,  when  I 
enter  the  throng  of  battle.  But,  if  thou  art  correct  in  thy  opinion,  and 
sure  of  thy  affair,  be  thou  comforted  and  ride  on,  in  the  Name  of  God. 
God  will  not  forsake  thee.'*  After  the  capture  of  Rome,  1527,  Reissner, 
who  had  accompanied  Freundsberg  during  his  campaign  into  Italy, 
came  to  Strassburg  where  he  became  a  friend  of  Casper  Schwenkfeldt. 

In  dich  hab  ich  gehoffet,  Herr. 

O  Mensch  beklag  dein  Suend  all'  Tag. 

Nicholas  Hermann,     ,     died  May  3,  1561. 

A  pious  cantor  in  the  Joachimsthal,  in  Bohemia,  was  grieved  at  the 
constant  disputations  of  the  learned.  He  found  his  greatest  delight  in 
quietly  teaching  the  young.  He  was  an  intimate  friend  of  Paul  Eber  and 
his  pastor,  Matthesius.  He  is  known  as  a  ''Poet  of  the  People";  his 
style  is  rugged  and  picturesque,  like  that  of  Hans  Sachs. 

Dankt  dem  Herrn  heut  und  allezeit. 
Die  helle  Sonne  leucht't  ject  herfuer. 
Erschienen  ist  der  herrlich  Tag. 
Hinunter  ist  der  Sonneschein. 
Lobt  Gott  ihr  Christen  alle  gleich. 
Mit  Todsgedanken  geh'  ich  um. 
Verzage  nicht,  o  frommer  Christ. 
Wenn  mein  Stuendlein  vorhanden  ist. 
Bescher  uns,  Herr,  das  taeglich  Brod. 

John  Mathesius,  born  June  24,  1504,  died  Oct.  8,  1565. 

His  father,  Wolfgang,  was  a  pious  alderman,  in  Rochhtz.  Though  in 
poor  circumstances,  he  spent  a  season  in  the  schools  of  Nuernberg  and 
Ingolstadt.  He  served  as  tutor  in  a  family  near  Munich.  In  1526,  he 
found  a  copy  of  Luther's  sermon  on  "Good  Works,"  in  the  Castle  Library 
at  Odulphhausen.  In  1529,  he  heard  Luther  preach  on  the  subject  of 
Holy  Baptism.  As  rector  of  the  high  school,  in  Joachimsthal,  he  intro- 
duced Luther's  Catechism,  as  a  textbook.  He  kept  in  constant  touch  with 
the  Lutheran  confessors  and  teachers  in  Wittenberg. 

Aus  meines  Herzens  Grunde. 
Errett  uns  lieber  Herre  Gott. 
Herr  Gott,  der  du  mein  Vater  bist. 
Gott  Vater,  Sohn,  heiliger  Geist. 


Luther's  hymns  151 

Queen  Maria,  born  Sept.  17,  1505,  died  Oct.  15,  1558. 

Queen  Maria,  of  Hungary  and  Bohemia,  was  a  daughter  of  King 
Philipp  I.  of  Spain,  and  a  sister  of  the  Emperor  Charles  V.  She  was  very 
favorably  incKned  to  the  teachings  of  the  Protestant  Church.  After  her 
husband  had  fallen,  in  the  battle  of  Mohacz  against  the  Turks,  1526, 
Luther  wrote  her  a  comforting  letter,  the  sentiment  of  which  she  restated, 
in  the  form  of  a  beautiful  poem : 

*'Mag  ich  Ungluck  nit  widerstahn, 
Muss  Ungnad  han 
Dear  Welt  fuer  mein  recht  Glauben." 

Erasmus  Alber,  born  1500,  died  May  5,  1553. 

A  native  of  SprendKngen,  he  received  his  preliminary  education  in 
Nidda.  He  studied  Theology  and  kindred  branches,  under  Luther  and 
Melanchthon,  in  Wittenberg.  He  was  a  pious  man  and  a  poet  of  some 
ability,  but  is  known,  chiefly,  as  a  writer  of  fables.  In  1541  he  received 
the  degree  of  Doctor  of  Theology  from  the  University  of  Wittenberg. 
He  was  greatly  devoted  to  the  instruction  of  children. 

Ach  Gott  thu  dich  erbarmen. 

Christe  du  bist  der  helle  Tag. 

Freuet  euch  ihr  Gottes  Kinder  all. 

Gott  hat  das  Evangelium  gegeben  dass  war  warden  frum. 

Steht  auf  ihr  lieben  Kinderlein. 

OLD   MUSICAL  SETTINGS 

npHAT  Luther  was  a  prince,  among  hymn  writers  of  his  time,  is  shown 
by  the  fact  that  his  hymns  were  sung,  not  only  in  Lutheran  com- 
munions, but  also  in  the  services  of  other  denominations.  The  Bohe- 
mian Brethren  pubHshed  a  hymn  book  in  1566,  only  twenty  years  after 
Luther's  death,  in  which  is  found  an  appendix  whose  title  page  speaks  for 
itself: 

"Spiritual  Hymns,  some  of  which  have  been  in  universal  use,  in  the 
Christian  Church,  from  of  old,  and  some  have  been  made  new,  in  our  time, 
by  enlightened,  pious  Christians  and  godly  teachers,  and  prepared  and 
distributed  according  to  the  seasons  of  the  year."  Thirty-six  hymns, 
credited  to  Luther,  are  contained  in  tliis  appendix. 

It  is  remarkable  that  Luther  and  all  the  gifted  poets  of  his  time  at- 
tuned their  harps  to  the  strains  of  sacred,  solemn  and  devotional  diction. 


152  Luther's  hymns 

There  is  nothing  flippant  and  trifling  in  their  lines,  nothing  designed  to 
play  upon  the  passions  and  emotions  of  men,  save  the  sense  of  worship. 
This  should  be  borne  in  mind  when  we  hear  the  silly  jingle  of  modern 
tabernacle  songs.  "God  is  a  Spirit:  and  they  that  worship  Him  must 
worship  Kim  in  spirit  and  in  truth."  A  truly  devotional  hymn  is  object- 
ive, not  subjective,  in  character. 

Prints  of  three  hymns  are  inserted  in  order  to  show  a  musical  staff  of 
the  Reformation  era.  Our  fathers  had  a  much  more  complicated  style 
than  our  present  system  presents,  but  their  artistic  sense  excites  admi- 
ration. 


(fti(^(«<ti,frctfjm  (f ^rljlm  time  ©<»({» 
wit*  jiis<rf  ^f  .-f  finM  nocfi  S>rtimn| 


«-c  O 


153 


Sr  ^ilflfc  Dne  fvtp  m&  al  kt  m/tfit  m$  |$(  fyu 


fic^  piUvt^m  rr  t)«apDc^  nid^r:  Dae 


l^on/orir  fm^gvir  ^aU>  t)alo^rcn: J{    fan  j^n  f4llcrt» 
ere  (lrci«  fur  »ne  t>a  recite  2)?an  A*^S«0  ^orf  fie  fetfm  faflfcn  pci^rtj 
ttfrt  ®oft  ^^e  fe(b  erfor^rt  jjnt)  fan  Danrf  Da^  ^a^en:^ 

Stagfi\iyW(rt(t\iii<:tr^y(m    C^r iff If^ry i^nf^rppf nriff^fm ftmmjl 

ijl  fcin  anDfr  ©o«/  foe  fcU>  mu^  it   ^t^mm  fU  ten  ici^/  ^m^^Vy  f int 
it^Um.  ttiO  ^ci^/iaf^  fa^rcn  pa^in/fir  §a< 

ffalmus  iXyiU  t>eus  mifereatur  noTlri.        Ifc.  tlX  jt. 


154 


f\x£ipftL 


J?ri(!tag  mXoDce  Km  Den/fur  m  fre 
S)fri(^  irit)frcr  pan  Dcn/unt)  ^at  t5ri$ 


a:!:^:^::^--^.: 


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f  f|)  alien  CO?cnfdjenf  irtt)m::X  flacf>I  ^ai  <r  vixlohtm.  i?aU<(u3a§. 
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t)nfc!jit[D  tear  Ju  ftrft^fn.  l)^:^  2^dD  r  nD  £f0cn  run^cn.  j^- 

Satjon  Urn  4iu  Zoi)  fo  6^D/  t?nt)  Sae  -Ic^cn  t^c^iclt  Den  fic^/  ce  §^c 

nahni  »bcr  t>nT^circ?!t  /  §icU  tjne  m  Den  XoD  »o*rdilungtn. 

feim  O^cicb  gfan^en./Janefu^ab.  5)ie  5cl?nff c  ^af  t?crfi5nDcf  Dae/iDi< 

3cfu^  S§njtu^®c«f^®£>§ri/an  cinXcD  Den  anorrn  framnffott^m 


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156 


INDEX 


Aim  or  purpose,  Luther's,  in  hymn-  ^^^^  I 

writing 77 

Alms,  singing  for 6 

Alphabet  hymn 89 

Alpine  avalanche 9 

Alsace  occupied 48 

Ambrose,  St.,  hymn- writer 3 

Ambrosian  hymn 116 

Amorous  and  carnal  songs 13 

Anhalt,  princes  of 45 

Apostle  to  German  nation 11 

Art  of  music,  origin 1 

Art  of  poetry  nurtured  in  Rama. .  .  1 

Artisan's  melody  adapted 78 

Auerbach,  Samuel 125 

Augustine,  St.,  and  hymns 86 

Authority  of  a  pastor 138 

Babylonian  Captivity,  prelude.  .  . .  129 

Balz,  Eugene,  and  smallpox 124 

Banished  from  Bohemia 138 

Basel  mission  inspector 48 

Bells  of  Banz 139 

Bells  rung  for  Veni  Creator 67 

Bene  orasse  est 8 

Berkhan,  John  K.,  death  of 60 

Berthold,  of  Regensburg 69 

Bible,  fountain  of  life 28 

Bibles,  distribution  of 28 

Birthday  greeting  to  a  son 74 

Blooming  roses 29 

Boston  music  festival 50 

Both  Elements  in  Communion ....  104 

Boys,  two,  at  Luebeck 53 

Brussels,  martyrs  of 28 

Carmina,  by  Duemmler 67 

Cemeteries,  sleeping  places 13 


Characteristics  common  to  Luther's  ^^°^ 

Hymns 77 

Charlemagne  and  musical  art 4 

Charles  the  Fat,  composer 66 

Children  in  Germany 138 

Christ  honored  by  song 7 

Christ  is  our  Captain 32 

Christaller  in  Africa 48 

Christendom  approaching 85 

Christmas  prayer,  Luther's 93 

Church,  Congregation  of  believers .  10 

Church  rooted  in  temple 31 

Clergy  able  to  sing 4 

Coburg,  Luther  at 45 

Communion,  mode  of  administra- 
tion   109 

Confound  all  doctors 8 

Congregational  singing 4, 10, 17 

Constantinople  rocked 57 

Contrasts  in  Nun  bitten  wir 70 

Copious  and  varied  in  speech 8 

Cornthal  monument 60 

Cotta,  Madam 4 

Cradle  song  and  manger 123 

Creed,  singing  of 83 

Croats  charge  upon  children 138 

David,  author  of  Psalter  and  Order 

of  Worship 1 

Deaf  hear 92 

Death  a  sleep 13 

Decalogue,  sermons  on 100 

Defiant  as  a  theologian 8 

Defy  the  devil 32 

Denkring 105 

Devil,  be  gracious 35 

Devils  and  tiles 41 

Devotional  hymns  defined 48 


IS7 


158 


INDEX 


PAGE 

Dirges 13 

Divers  sink  for  pearls 125 

Domine,  give  me  money 37 

Dorothea,  daughter  of  Swedish  cap- 
tain   59 

Dove,  wooden,  lowered 69 

Early  hymns  in  the  church 4 

Easter  cakes 96 

Eight  tones 11 

Ein  feste  Burg,  theme  of  masters . .  43 

Enchiridion,  hand-book 19 

Evangelical  alliance 44 

Evangelical  Christians 42 

Facsimile  of  hymns 18 

Faith,  denial  of 83 

Ferbef  ass 20 

Festivals  barred  and  admitted ....  17 

Fishermen  on  island  Salt  holm 71 

Fortunatus  and  larger  pay 84 

Fraustadt,  native  of 125 

Frederick,  Elector,  imprisoned 37 

Frederick  the  Wise,  funeral  of 33 

Fulmina  erant 10 

Galleries  creak 42 

Gast,  Ulrich,  on  Altenberg 47 

Gerhardt,  Paul,  delight  in  Luther 

hymns 77 

Gift  of  song 47 

Gloria  in  Excelsis 117 

God  is  not  mocked 79 

Gormandize,  etc 138 

Great  Gloria,  old 3 

Green-finch 33 

Gregory,  chant  and  school 4 

Gustavus  Adolphus 46 

Harmony 13 

Hartmann,  Otto,  death  of 60 

Heaven,  Emperor  forbid 46 

Hernhut 45 

Hilary,  father  of  Latin  hymnology  3 

Hour  Service 67 

Huss,  John,  in  Bohemia 5 

Iconoclastic  storm 17 

Ignatius  introduced  responsive  song  3 

Incarnation,  significance  of 131 


PAGE 

India  mission,  Schwartz's 35 

Intellectual  qualifications  of  Luther  7 

Jerome  of  Prague  burned 83 

Jesus  and  disciples  sing  Psalms. ...  3 

Joy  needful  to  singing 15 

Juengling,  John,  cantor 46 

Kayser,  Leonard,  burned  in  Passau  74 

King  Karakari 38 

Knesebek,  father,  wife  and  daughter  92 

Kumase  missionaries 38 

Latin  hymnology,  father  of 3 

Latin  hymns  not  condemned 17 

Latin  language  opposed  by  laity. . .  5 

Lauds 67 

Levites  in  Temple  worship, 2 

Linen- weaver  of  Magdeburg 32 

Luther  fam^ily  festival,  Christmas. .  123 

Luther  minds  the  baby 123 

Luther's  name  dreaded 78 

Lutheran  alHes  maltreated 136 

Lutheran  heresy,  destruction  of .  . .  136 

Lutheran  preachers  banished 138 

Lutheran  writings  burnt 49 

Magdalene  of  Schleinitz 59 

Magdeburg  Reformation  hymns ...  35 

Magdeburg,  siege  of 37 

Magnificat  introduced  by  Hilary .  ,  3 

Mariolatry  aHenating 81 

Ma.rtinstobel,  gorge  of  Goldbach .  .  57 

Martyr  hymn 70 

Mary,  queen  of  heaven 125 

Mass,  German,  origin 11 

May-day  dawn 118 

Meritorious  works 77 

Mill-wheels  groan 66 

Missionary  hymns 35 

Model  for  Protestant  Church  song  77 

Model  of  holiness 7 

Moerhn,  Dr.,  at  Koenigsberg  and 

Brunswig 53 

Moravian  and  Bohemian  song,  fer- 
vent    5 

Muentzer,    Thomas,    at    Franken- 

hausen 74 

Music  a  gift  and  grace  of  God 6 


INDEX 


159 


PAGE 

Natin,  speech  to  nuns 7 

New-fangled  words 15 

Nightingale  hushed 28 

Nitschmann,  Da\ad 50 

Non-Biblical  hymn 116 

Notes  suitable  to  hymns 14 

Notker,  five  monks 57 

Objective  confessional  hymn 16 

Order  and  chronology  of  Luther's 

Hymns 19,20 

Order  of  Worship,  revision  of 17 

Ordination  hymn 67 

Organ  introduced 4 

Origin  and  publication  of  hymns.  .  16 

Palatinate  destroyed 60 

Paradox  in  Luther's  life 7 

Pariser-Einzugsmarsch 47 

Pauline  Psalm 31 

Peace,  collect  for Ill 

Peace  stone 139 

Pliny's  letter  to  Trajan 3 

Poetry,  subHme  thought 6 

Polyphonic  male  choirs 5 

Pontifical  decrees 41 

Priest  sung  out  of  church 78 

Priests'  battle  hymn 58 

Priests  sang  stanzas,  people  Kyrie 

Eleison 91 

Prime 67 

Primeval  songs  of  praise 1 

Prophet  and  apostle  to  his  nation.  11 

Protestants 42 

Psalmody  in  the  temple 2 

Psalm-tones  adapted 11 

Pulpit  in  branches  of  trees 69 

Purgatory  and  expiations 14 

Recitative,  Temple  song 2 

Revision  of  hymns 14 

Rhymes  easy,  words  choice 9 

Rieseberg  and  the  plague 79 

Rollenhagen,  George 59 

Russia  assented  to  Christianity 5 

Saltholm  fishermen 71 

Salzburger  migration 49 

Samuel,  head  of  school  in  Rama. . .  1 


PACK 

Sanctus,  German 11 

Satan  strangled 96 

Scheer,  John,  Schmalkald  merchant  70 

Scholastic  titles  of  Luther 8 

Schweina,  Franconia 124 

Science  not  hindered  by  Gospel.  .  .  13 

Scoffer  and  Spangenberg 78 

Selah 2 

Sexton,  cantor 17 

Shalbe  family  and  Franciscans.  .  .  7 

Shrove-tide  games 143 

Silesian  school  teacher 49 

Sing  on,  little  daughter 45 

Singing  for  bread 7 

Singing  reveals  value  of  hymns 134 

Solomon,  his  choir 2 

Spalatin  letter 15 

Spener,  Philip  Jacob 53 

Spenlein,  advice  to 77 

Spires,  Diet  of 44 

Sprengel  was  sung  out  of  pulpit ...  53 

Strassburg  betrayed S3 

Struensen  and  want 84 

Study  of    Scriptures,    Augustinian 

duty 7 

Sultan's  convocation 138 

Sweet  attuned  church 86 

S^-iss  farmers,  cow-herdsmen 61 

Sylvester,  Bishop,  and  choral-school  4 

Te  Deum,  ancient 3 

Ten  Commandments,  use  of 100 

Text  controls  notes 11 

Thunderbolts 10 

Tired  of  hymns 95 

Trumpeter,  Swedish 147 

Tunes,  power  of 12 

Two  great  works:  Bible  and  Wor- 
ship    8 

Tyi  hymn  book 48 

Value  of  hymns  revealed  by  singing  134 

Vespers  restored 11 

Visible  messenger  between  heaven 

and  earth 9 

Wakes 13 

Wedding  hymn 39 


i6o 


INDEX 


PAGE 

Weiss,  Michael,  hymn  book 5 

Where  Turk  treads  no  grass  grows.  136 

Wife,  support  of,  feared 84 

Woltersdorf  in  Rome 48 

Women  in  Choirs 3 

Word  transparent 31 

Works  of  the  Law  defined 102 


PAGE 

World's  Fair  Anthem 12 

Worms,  Diet  of 42 

Yehovah  and  Adonai 100 

Zinzendorf ,  Count 50 

Zinzendorf  in  West  Indies 93 


